gods nor chooses her mate." Munich comments that given that most of the artists were men, "it can be thought of as a male myth", providing convenient gender roles. She cites Catherine MacKinnon's description of the gender differences as "the erotization of dominance and submission": the male gets the power and the female is submissive. Further, the rescue myth provides a "veneer of charity" over the themes of aggression and possession. Munich likens the effect to John Everett Millais's 1870 painting The Knight Errant, where the knight, "errant like Oedipus", finds a man sexually assaulting a bound and naked woman, which she calls a Freudian "primal scene". The knight kills the man and frees the woman. She asks whether Millais's knight is hiding from the woman's body, or demonstrating self-control, or whether he has "killed his own more aggressive self". She states that similar psychological themes are implied by the story of Perseus and Andromeda: Perseus makes Andromeda into a mother, thus Oedipally "conflating the purpose of his quest with the goal of finding a wife." As for the bondage, Munich notes that the Victorian critic John Ruskin attacked male exploitation of what she calls "suffering nudes as subjects for titillating pictures." "Andromeda" is, she writes, the name of a type of "debased" imagery. She gives as example Gustave Doré's drawing of the voluptuously chained-up Angelica for , where "torment combines with an artistic pose, giving a new meaning to the concept of the 'pin-up'." She notes Ruskin's assertion that the image linked nude prostitutes to the naked Christ, both perverting the meaning of Andromeda's suffering and "blasphem[ing] Christ's sacrifice". Further, Munich writes, Andromeda's name means 'Ruler of Men', hinting at her power; and indeed, she can be seen as "the good sister" of the monstrous female, the Medusa who turns men to stone. In psychological terms, she comments, "by slaying the Medusa and freeing Andromeda, the hero tames the chaotic female, the very sign of nature, simultaneously choosing and constructing the socially defined and acceptable female behavior." The scholar of literature Harold Knutson describes the story as having a "disturbing sensuality", which together with the evident injustice of Andromeda's "undeserved sacrifice, create a curiously ambiguous effect". He suggests that in the earlier Palestinian version, the woman was the object of desire, Aphrodite/Ishtar/Astarte, and the hero was the sun god Marduk. The monster was woman in evil form, so chaining