Annotation by: [Your Full Name] CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Aphrodite talks in a super fancy way here. She talks and acts like a queen to make herself sound more powerful. This is because she’s a goddess, and in Greek plays, gods were always shown as being really important. The way she talks is all about showing off her power. She says she can help people who respect her or destroy people who don’t. This kind of serious, dramatic language is normal for Greek gods in plays because it makes them seem way bigger and more important than normal people.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: In this quote, Aphrodite declares her vast influence over both mortals and gods, emphasizing that she rewards those who honor her and punishes those who don't. This showcases her as a powerful female deity who demands respect and can control the fates of individuals. Her power over love and desire contrasts with Hippolytus' self-control and rejection of passion, highlighting the different ways power is portrayed in the play.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: In this quote, Aphrodite talks about how powerful she is. She controls love and desire everywhere, and she makes it clear that if people respect her, she will help them. But if they ignore her or disrespect her, she will punish them. This shows that even though she is a goddess of love, she is not just kind and gentle but that she can also be dangerous if people make her angry. This makes her a really powerful female character in the story because she can control people’s feelings and lives.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: In this quote, Aphrodite talks about how she rewards people who respect her but punishes anyone who disrespects her. This shows how powerful she is because everyone has to listen to her, even though she’s a goddess of love. It also shows how women, especially goddesses, were expected to be respected but could also be blamed if something went wrong.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Kovacs’ version is written in modern and clear English, which makes it easy to understand and focuses on Gilgamesh’s journey. Sandars’ version is written in a more poetic style, making him look like a hero. These two styles show how translators can change the way we see a character, depending on whether they want him to look like a brave man or a famous hero.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: Both versions show Gilgamesh as a hero, but they focus on different things. Kovacs’ version shows him as someone who goes on a tough journey and learns a lot, while Sandars’ version makes him look like a famous legend whose story should be told to everyone. This connects to gender politics because it shows two ways of being a "great man", first is about bravery and wisdom, and the other is about being remembered.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: In this version, Gilgamesh is shown as a hero who had come back from a journey and shares his stories from these adventures. This connects to gender politics because it shows how men were expected to be strong leaders who were remembered for their work and achievements.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Kovacs’ version is written in modern and clear English, which makes it easy to understand and focuses on Gilgamesh’s journey. Sandars’ version is written in a more poetic style, making him look like a hero. These two styles show how translators can change the way we see a character, depending on whether they want him to look like a brave man or a famous hero.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: Both versions show Gilgamesh as a hero, but they focus on different things. Kovacs’ version shows him as someone who goes on a tough journey and learns a lot, while Sandars’ version makes him look like a famous legend whose story should be told to everyone. This connects to gender politics because it shows two ways of being a "great man", first is about bravery and wisdom, and the other is about being remembered.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211 In this version, Gilgamesh is shown as a hero who goes on a long journey, learns a lot, and brings back stories from the past. This makes him look like the a good hero where he has characteristics of someone who is brave, curious, and always trying to learn more. This connects to gender politics because it shows how men were expected to be strong, adventurous, and wise.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Hall’s translation is from the 1800s, so it uses older and fancier words to describe Beowulf and how his characteristics make him a hero. Gummere’s translation is from the early 1900s and is easier to read using more of modern texts and descriptions. These differences show how ideas of heroism and masculinity can change over time, even though Beowulf is always a strong, brave hero.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: Both versions show Beowulf as a brave and respectful hero, but Hall’s version is more poetic, which makes Beowulf seem like a legendary figure. Gummere’s version is simpler and makes Beowulf seem more like a real person narrating the story. Both connect to gender politics by highlighting how a hero must be strong but also respectful.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: In this quote, Beowulf shows his bravery by talking about how he and his men sailed across the sea to help Hrothgar and his people, knowing that they might die. This is a big part of gender politics because it shows the traditional idea of masculinity of being strong, fearless, and willing to sacrifice yourself for honor.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Hall’s translation is from the 1800s, so it uses older and fancier words to describe Beowulf and how his characteristics make him a hero. Gummere’s translation is from the early 1900s and is easier to read using more of modern texts and descriptions. These differences show how ideas of heroism and masculinity can change over time, even though Beowulf is always a strong, brave hero.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: Both versions show Beowulf as a brave and respectful hero, but Hall’s version is more poetic, which makes Beowulf seem like a legendary figure. Gummere’s version is simpler and makes Beowulf seem more like a real person narrating the story. Both connect to gender politics by highlighting how a hero must be strong but also respectful.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: In this version, Beowulf is shown as a respectful hero where we can see here how he talks to the king to get approval before taking action. This shows male characteristics that are liked such as polite, honarable and being loyal. These connect to political gender as it emphasizes the qualities of traditional male characteristics.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Potter's version is more descriptive in her feelings of her son's departure. It shows more of an emotional side of the story. Smyth's version tells the story like a book where it does not show as much emotion and gets to the point. These two stories show how different emotions can be shown of the same character based on different writing.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: Both versions show Atossa being upset, but in different ways. In Potter’s version, she’s emotional and scared, which makes her seem vulnerable. In Smyth’s version, she’s more controlled, which makes her look strong.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: This version of Atossa is different. She’s still worried, but instead of showing it publicly, she keeps her feelings inside. She instead tells us about the dreams she has about her son. This connects to the view of women as she is showing us a different version of her being more strong as she isn't showing her emotions publically but has dreams instead.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Linguistic and Cultural Context: Potter's version is more descriptive in her feelings of her son's departure. It shows more of an emotional side of the story. Smyth's version tells the story like a book where it does not show as much emotion and gets to the point. These two stories show how different emotions can be shown of the same character based on different writing.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Analysis: In this version, Atossa is emotional as she talks about nightmares that keep haunting her, and it shows how worried she is for her son and the Persian army. It shows a traditional view of women that show emotions as she shows her emotions of sad, fear, anxious, etc when it comes to her son and the people.

Annotation by: Jatnna Sanchez CC License: CC BY-NC-SA 4.0 Tag: #SP2025-Lit211

Comparative Insight: Both versions show Atossa being upset, but in different ways. In Potter’s version, she’s emotional and scared, which makes her seem vulnerable. In Smyth’s version, she’s more controlled, which makes her look strong.