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Rewriting classical myths from a feminist perspective has gained much popularity lately. Since female characters in literature, especially in mythologies, have either been silenced or largely misrepresented, many contemporary writers seek to adapt well-known stories to depict modern concerns and to challenge the prevailing stereotypical representation of women by advocating a feminist ideology that rejects patriarchal bias. One very successful example of such an attempt is Margaret Atwood’s The Penelopiad (2007). In this novella, Penelope reclaims her voice to narrate her version of the famous Odyssey. By questioning gender roles and class differences, this retelling connects its ancient storyline with contemporary themes and cultural debates. This article aims to demonstrate how such feminist retellings enable women to assert themselves and support the aim of just and equal treatment in society, culture, and literature. Moreover, it illustrates the enduring importance of myths and argues that feminist revisions can change the patriarchal nature of the literary canon.

En este ensayo, analizo la película argentina La historia oficial –escrita por Aída Bortnik y dirigida por Luis Puenzo— y la novela chilena Cuerpos prohibidos –de Marco Antonio de la Parra— como recreaciones revisionistas post-dictatoriales del mito clásico de Edipo. Propongo que ambas obras se enfocan en la falla trágica (hamartia) de sus protagonistas –Alicia y Eduardo respectivamente— entendida como su indiferencia hacia la situación política de sus propios países y, en consecuencia, como su complicidad con los poderes de facto. No obstante, la anagnórisis de estos dos personajes los lleva a abandonar sus privilegios de clase para abrazar una suerte de autoexilio que los acerca a la figura del mendigo. Ésta es la expiación que voluntariamente asumen al sentirse indignos de ser considerados miembros de su comunidad., In this essay, I analyze Argentinian film, La historia oficial (The Official Story) – written by Aída Bortnik and directed by Luis Puenzo— and Chilean novel, Cuerpos prohibidos (Forbidden Bodies) –by Marco Antonio de la Parra— as post-dictatorial revisionist mythmaking of the Classical myth of Oedipus. I propose that both works focus on the tragic flaw (hamartia) of their protagonists –Alicia and Eduardo respectively— understood as their indifference towards the political situation in their own countries and, consequently, as their complicity with the de facto powers. Nevertheless, the anagnorisis of these two characters leads them to abandon their social class privileges to embrace a kind of self-exile that brings them closer to the figure of the beggar. This is the atonement that they voluntarily assume as they feel unworthy of being considered members of their communities.

En este ensayo, analizo la película argentina La historia oficial –escrita por Aída Bortnik y dirigida por Luis Puenzo— y la novela chilena Cuerpos prohibidos –de Marco Antonio de la Parra— como recreaciones revisionistas post-dictatoriales del mito clásico de Edipo. Propongo que ambas obras se enfocan en la falla trágica (hamartia) de sus protagonistas –Alicia y Eduardo respectivamente— entendida como su indiferencia hacia la situación política de sus propios países y, en consecuencia, como su complicidad con los poderes de facto. No obstante, la anagnórisis de estos dos personajes los lleva a abandonar sus privilegios de clase para abrazar una suerte de autoexilio que los acerca a la figura del mendigo. Ésta es la expiación que voluntariamente asumen al sentirse indignos de ser considerados miembros de su comunidad., In this essay, I analyze Argentinian film, La historia oficial (The Official Story) – written by Aída Bortnik and directed by Luis Puenzo— and Chilean novel, Cuerpos prohibidos (Forbidden Bodies) –by Marco Antonio de la Parra— as post-dictatorial revisionist mythmaking of the Classical myth of Oedipus. I propose that both works focus on the tragic flaw (hamartia) of their protagonists –Alicia and Eduardo respectively— understood as their indifference towards the political situation in their own countries and, consequently, as their complicity with the de facto powers. Nevertheless, the anagnorisis of these two characters leads them to abandon their social class privileges to embrace a kind of self-exile that brings them closer to the figure of the beggar. This is the atonement that they voluntarily assume as they feel unworthy of being considered members of their communities.

En este ensayo, analizo la película argentina La historia oficial –escrita por Aída Bortnik y dirigida por Luis Puenzo— y la novela chilena Cuerpos prohibidos –de Marco Antonio de la Parra— como recreaciones revisionistas post-dictatoriales del mito clásico de Edipo. Propongo que ambas obras se enfocan en la falla trágica (hamartia) de sus protagonistas –Alicia y Eduardo respectivamente— entendida como su indiferencia hacia la situación política de sus propios países y, en consecuencia, como su complicidad con los poderes de facto. No obstante, la anagnórisis de estos dos personajes los lleva a abandonar sus privilegios de clase para abrazar una suerte de autoexilio que los acerca a la figura del mendigo. Ésta es la expiación que voluntariamente asumen al sentirse indignos de ser considerados miembros de su comunidad., In this essay, I analyze Argentinian film, La historia oficial (The Official Story) – written by Aída Bortnik and directed by Luis Puenzo— and Chilean novel, Cuerpos prohibidos (Forbidden Bodies) –by Marco Antonio de la Parra— as post-dictatorial revisionist mythmaking of the Classical myth of Oedipus. I propose that both works focus on the tragic flaw (hamartia) of their protagonists –Alicia and Eduardo respectively— understood as their indifference towards the political situation in their own countries and, consequently, as their complicity with the de facto powers. Nevertheless, the anagnorisis of these two characters leads them to abandon their social class privileges to embrace a kind of self-exile that brings them closer to the figure of the beggar. This is the atonement that they voluntarily assume as they feel unworthy of being considered members of their communities.

En este ensayo, analizo la película argentina La historia oficial –escrita por Aída Bortnik y dirigida por Luis Puenzo— y la novela chilena Cuerpos prohibidos –de Marco Antonio de la Parra— como recreaciones revisionistas post-dictatoriales del mito clásico de Edipo. Propongo que ambas obras se enfocan en la falla trágica (hamartia) de sus protagonistas –Alicia y Eduardo respectivamente— entendida como su indiferencia hacia la situación política de sus propios países y, en consecuencia, como su complicidad con los poderes de facto. No obstante, la anagnórisis de estos dos personajes los lleva a abandonar sus privilegios de clase para abrazar una suerte de autoexilio que los acerca a la figura del mendigo. Ésta es la expiación que voluntariamente asumen al sentirse indignos de ser considerados miembros de su comunidad., In this essay, I analyze Argentinian film, La historia oficial (The Official Story) – written by Aída Bortnik and directed by Luis Puenzo— and Chilean novel, Cuerpos prohibidos (Forbidden Bodies) –by Marco Antonio de la Parra— as post-dictatorial revisionist mythmaking of the Classical myth of Oedipus. I propose that both works focus on the tragic flaw (hamartia) of their protagonists –Alicia and Eduardo respectively— understood as their indifference towards the political situation in their own countries and, consequently, as their complicity with the de facto powers. Nevertheless, the anagnorisis of these two characters leads them to abandon their social class privileges to embrace a kind of self-exile that brings them closer to the figure of the beggar. This is the atonement that they voluntarily assume as they feel unworthy of being considered members of their communities.