Relevant bibliographies by topics / Medea

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Medea'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Medea"

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McElduff, Siobhán. "Epilogue: The Multiple Medeas of the Middle Ages." Ramus 41, no. 1-2 (2012): 190–205. http://dx.doi.org/10.1017/s0048671x0000031x.

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Insofar as we can know, Medea has always been multiple, existing in many different versions simultaneously. She is never simply a literary construction, a stratified intertextual ensemble made up of all the other literary Medeas that came before her, but a product of the values and fears of each culture that imagines her, recreates her, and uses her to represent meaning. The Middle Ages were no different: Medea could figure as an alchemist's guide, as in the Pretiosa Margarita Novella (the New Pearl of Great Price); as an allegory of God fighting the Antichrist in the Ovide Moralisé; as wronged wife in Geoffrey Chaucer's Legend of Good Women; or as a nightmare figure that appears like Grendel in Beowulf to destroy Jason's wedding feast in Raoul Lefèvre's History of Jason. The flexibility of the medieval myth of Medea is staggering—even more staggering than that of the Roman period—stretched as it was across a continent of warring kingdoms, with different authors and audiences pressing classical texts to generate new and culturally relevant and acceptable meanings. However, appropriately enough for a volume titled ‘Roman Medea’, there is one multiple of Medea that drops out of the equation as a direct influence: the Greek Medea, the Medea of Euripides and Apollonius. The loss of the Greek tradition did not impede medieval authors, who found more than enough in Latin texts to inspire them. The basic Latin materials upon which the Middle Ages built their Medeas were Ovid's Metamorphoses and Heroides, along with scattered references in other popular authors like Statius, presentations of irrational women in love like Dido in Virgil, descriptions of child murderers such as Procne also taken from the Metamorphoses, and terrifying witches such as Lucan's Erictho. However, some Latin texts which we might have expected to be influential, such as Seneca's Medea, were marginal to the medieval tradition.
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Walsh, Lisl. "The Metamorphoses of Seneca's Medea." Ramus 41, no. 1-2 (2012): 71–93. http://dx.doi.org/10.1017/s0048671x00000266.

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Seneca's Medea is not a rewriting of Euripides' character. At least, Seneca's Medea shares more similarities with Ovidian Medeas (the extant ones, at any rate) than the Euripidean Medea. Rather than focusing on Seneca's departures from the tragic legacy of Euripides (however important they are for an informed reading of the play), I would like to focus on Seneca's Medea as a potentially Ovidian character. Specifically, I would like to posit that the Senecan Medea reads more like a dramatisation of Medea's experience within the ellipsed Corinthian episode of Ovid's Metamorphoses (7.394-97). Seneca's Medea (more so than Euripides' Medea) identifies with a specifically transformative project, and, one might initially suspect, supplies a neat explication of the transformation missing from Medea's narrative in the Metamorphoses. What we find, however, is that, in dramatising her process of metamorphosis, Seneca irreparably alters our relationship with the transformed Medea.In the Metamorphoses, ‘Ovid does not explain the reason for Medea's transformation into a sorceress and semidivine, evil being…’, but it is clear in the narration that a metamorphosis does occur: ‘Ovid passes abruptly from a sympathetic portrayal of Medea as love-sick maiden to a tragi-comic account of her career as accomplished pharmaceutria (witch) and murderess.’ But the metamorphosis of Medea's character is signalled just as much by her own retreat into silence. The ‘love-sick maiden’, who lays her thoughts out in the open, gives way to the ‘semidivine, evil being’, who speaks only pragmatically (in incantatory language or to the daughters of Pelias) or not at all (e.g., while flying, in Corinth, and in Athens). The loss of Medea's perspective is much of the reason why Ovid's ‘transformed’ Medea seems so unsympathetic. Seneca provides this missing perspective, and in doing so creates a uniquely sympathetic and inhuman result: Seneca's Medea leaves the stage as abruptly as Ovid's Medea leaves Iolcos and Athens (Met. 7.350 and 7.424, respectively), having committed the same crimes as Ovid's Medea, and as ‘supernatural’ as Ovid's Medea (if not more so), yet her newfound system of values is completely comprehensible. In creating a comprehensible account of her motives for transformation, Seneca's Medea, even as the semidivine ‘pharmaceutria’, seems more sympathetic even as she maintains similarities to Ovid's character.
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Budzowska, Malgorzata. "Medea w tradycji przedeurypidejskiej." Collectanea Philologica 8 (January 1, 2004): 73–82. http://dx.doi.org/10.18778/1733-0319.08.05.

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Materia dissertationis nostrae sunt fabulae et opera sriptorum Gracorum ante Euripidem, quae ad personam Medeam perinent. Implicandum fabulas cum rebus gestis nationis Minyadum, qui Argonautae putantur, signatur. Primum tamen mutatio aspectus Medeas in litteris Graecis notatur.
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Ackah, Kofi. "Euripides’ Medea and Jason: A Study in the Social Power of Love." Phronimon 18 (August 31, 2017): 31–47. http://dx.doi.org/10.25159/2413-3086/1956.

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Euripides’ Medea resonates with modern issues in intimate relationships. However, little has been written on this, especially from the social-psychological perspective. This paper explores the breakdown of the Jason-Medea marriage in terms of the social-psychological theory of love as an exchange in a power game in which a certain degree of imbalance in the exchange could account for such a breakdown. I analyse the Medea text in terms of Olson and Cromwell’s (1975) tripartite theoretical framework, namely: (a) the bases on which social power is built; (b) the processes by which social power is wielded; and (c) the outcomes produced by the use of social power. I find that Medea carried a greater burden of love towards Jason than Jason did towards her, fuelled and sustained by her enduring and greater need for security and happiness. And in intimate relationships, the principle of least interest (Waller and Hill 1951) works: the beloved tends to dominate the lover. Jason, however, overreached himself when he violated the minimum conditions of his own desirability – fidelity to and respect for Medea. I conclude that Medea’s violent reaction to Jason’s conduct indicates the fragility of love as a basis of social power in intimate relationships.
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Malamud, Martha. "Double, Double: Two African Medeas." Ramus 41, no. 1-2 (2012): 161–89. http://dx.doi.org/10.1017/s0048671x00000308.

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When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Medea. Both were products of the flourishing, experimental, literary culture of Roman Africa that produced such writers as Apuleius, Tertullian, Augustine, Corippus, Martianus and Fulgentius. Although the two poems present radically different heroines, both exhibit the sophisticated allusivity, wordplay and interest in formal structures and rules that characterise Latin literature from Africa. One Medea makes a lethal intervention in Vergilian poetics; the other Medea channels a distinctively Statian Muse.Hosidius Geta's Medea is a short tragedy consisting of eight scenes and three choral songs that recounts the familiar events of Medea's vengeance in an unfamiliar form—it is the first extant example from antiquity of a cento. Mystery shrouds the origins of this Medea—we are unlikely ever to know for certain where, when or by whom it was written. It is probably a late second or very early third century text from Roman Africa. It is first mentioned by Tertullian, who brings it up as an example of the kind of improper manipulation of scripture perpetrated by heretical readers—that is, as a perverted form of reading. Tertullian's digressive expostulation is the first account we have both of Hosidius' Medea and of the cento form, i.e., the creation of poems made entirely from lines or half lines of a master-text. Tertullian's wording, however, implies that his readers will immediately recognise what a cento is, suggesting that this art form had been around for a long time. More interestingly, in light of the later Christian adoption of the cento form, he disapproves of the reading practices their composition implies, and finds Scripture especially vulnerable to such abuse. It is not hard to see why the fundamentalist preacher Tertullian would be alarmed by the poetics of the cento, for centos expose the multivalent nature of language, forcing the reader constantly to focus on the protean ability of words to change their meanings depending on context. To one whose goal is to establish truth according to the authoritative rule of faith, such linguistic play is threatening.
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Hooper, Corey. "Medea." Psychological Perspectives 64, no. 2 (April 3, 2021): 211–21. http://dx.doi.org/10.1080/00332925.2021.1959218.

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Frank, Glenda, and Euripides. "Medea." Theatre Journal 39, no. 2 (May 1987): 237. http://dx.doi.org/10.2307/3207695.

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Carlson, Marvin, and Heiner Muller. "Medea." Theatre Journal 43, no. 1 (March 1991): 118. http://dx.doi.org/10.2307/3207957.

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Thomas, Alfred, and Euripides. "Medea." Theatre Journal 40, no. 3 (October 1988): 411. http://dx.doi.org/10.2307/3208333.

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Hoffman, N. M., Euripides, and Alistair Elliot. "Medea." Theatre Journal 47, no. 1 (March 1995): 149. http://dx.doi.org/10.2307/3208820.

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Dissertations / Theses on the topic "Medea"

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Gigliello, Paola. "I volti di Medea : Medea non deve morire." Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0320.

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Le mythe de Médée est un des mythes les plus anciens que la tradition nous a transmis, mais, paradoxalement, c'est peut-être le plus “moderne” et scabreux entre les mythes connus. La thèse s'occupera d'abord de l'œuvre de Christine de Pizan, “La Cité des Dames” et l'image de Médée qui émerge: la terrible reine devient dans les pages de Christine un symbole du savoir et de la loyauté féminine par rapport à l'autre, qui n'est pas seulement fidélité amoureuse mais c'est l'abandon total du corps et de l'âme. On mettra en relation la “Cité” de Christine avec le “De mulieribus claris” de Boccace et on cherchera à démontrer que l'œuvre de Christine n'est pas une traduction, un plagiat de la plus célèbre œuvre de notre écrivain et poète. Dans la deuxième partie de la thèse, je vais analyser la version d'une autre femme spéciale; démontrant que les visages de Médée sont nombreux et variés: la Midea de Irina Possamai. Irina, est, en effet, une des premières librettistes italiennes et a choisi – comme Christine - de raconter dans un opéra lyrique sa Médée qui, ce n’est pas par hasard , qu’elle l’a appelé Midea
The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known.For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art.We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea.The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known.For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art.We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea
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Anderson, Lois Marjory. "Directing Euripides' Medea." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12609.

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This thesis documents the directorial preparation and rehearsal process for the production of Euripides Medea, produced at the TELUS theatre, January 2009, as the thesis requirement for an MFA in Directing from the Theatre Department of the University of British Columbia. Included are a script analysis of the Kenneth McLeish translation of Medea, a rehearsal journal, and an essay examining the role and intervention of the gods in Euripides’ Medea. This production was framed as a re-enactment by the household staff of Jason and Medea. The appendix includes a storyboard script for the household characters written by the director. The bibliography includes sources used by the director for script analysis research. Challenges in staging Medea include the deus ex machina, the child actors and staging the Greek Chorus. An essential question explored in this production is the character of Medea and whether the audience is to consider her as a monster or as a human. This production explored the deus ex machina as an act of grace, signaling that the gods transcend societal codes of justice, and that Euripides offers the image of a complex woman, struggling and stumbling towards the divine.
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Hoffmann, Jörg [Verfasser]. "Medeae Medea forem! : zur Euripidesrezeption Ovids in den Heroides / Jörg Hoffmann." Mainz : Universitätsbibliothek Mainz, 2013. http://d-nb.info/1033803561/34.

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Rodriguez, Mia U. "Medea in Victorian Women's Poetry." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355934808.

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Gmaj, Michael. "Warum es Medea nicht mehr braucht." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23524.

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Jones, Jonathan Hew Cabread. "A literary commentary on Euripides' Medea." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307358.

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Gadomski, Christopher. "Scenic design for Robinson Jeffers' Medea." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2399.

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Thesis (M.F.A.)--West Virginia University, 2002.
Title from document title page. Document formatted into pages; contains v, 63 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 16).
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Galli, Maria Teresa. "Commento alla Medea di Osidio Geta." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86173.

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Karlsson, Ulrica. "Den medvetna Medea : intersektionell analys och värdegrundsfrågor." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80905.

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Euripides tragedi Medea författades för närmare 2500 år sen, under den grekiska antiken. Denna epok är en självskriven del i litteraturundervisningen då den ligger till grund för den västerländska litteraturen och den västerländska uppfattningen om litteratur. Enligt Gy11 ska kvinnliga författare vara representerade vid litteraturundervisningen. Då detta krav är svårt att uppfylla presenterar många läromedelsförfattare istället Medea för att ge ett kvinnligt perspektiv på den grekiska antiken. I denna studie framhålls att ett kvinnligt perspektiv inte är tillräckligt för att analysera tragedin. Utifrån en intersektionell analys av genus, social klass och etnicitet analyseras de maktstrukturer som manifesteras i tragedin. Studien visar även tragedins didaktiska potential i klassrummet enligt Alkestrands (2016) definition. Genom att arbeta med tragedin i klassrummet utifrån aspekterna genus, social klass och etnicitet och upptäcka hur dessa makstrukturer påverkar karaktären Medea, kan eleverna komma till insikt gällande vilka makstrukturer som möter dem i det vardagliga livet.
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Corrigan, Kirsty Helen. "Virgo to virago : Medea in the silver age." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527579.

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Books on the topic "Medea"

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Medea neich'ŏ: Medea Nature. Sŏul-si: P'yŏngminsa, 2021.

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Griffiths, Emma. Medea. London: Routledge, 2006.

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Euripides. Medea. 4th ed. Amsterdam: Athenaeum-Polak & Van Gennep, 2005.

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Euripides. Medea. Indianapolis: Hackett, 2008.

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Euripides. Medea. New York: Dover Publications, 1993.

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Medea. Chicago: University of Chicago Press, 2014.

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Euripides. Medea. Chicago: Ivan R. Dee, 2000.

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Euripides. Medea. Stilwell, KS: Digireads.com Pub., 2005.

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Euripides. Medea. London: Oberon Books, 1993.

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Euripides. Medea. Stutgardiae: Teubner, 1992.

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Book chapters on the topic "Medea"

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Swift, Laura. "Medea." In A Companion to Euripides, 80–91. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch6.

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Wright, Matthew. "Making Medea Medea." In Female Characters in Fragmentary Greek Tragedy, 216–43. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108861199.016.

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"MEDEA." In Euripides: Medea, 111–59. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511806223.007.

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"Medea." In Die relative Datierung der Tragödien Senecas, 90–97. De Gruyter, 2009. http://dx.doi.org/10.1515/9783110225754.90.

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"Medea." In Brill's Companion to Euripides (2 vols), 69–95. BRILL, 2020. http://dx.doi.org/10.1163/9789004435353_006.

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"Medea." In Mutter - Tochter - Geliebte, 49–83. B. G. Teubner, 2004. http://dx.doi.org/10.1515/9783110956542.49.

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"Medea." In Medea, 23–92. University of California Press, 2019. http://dx.doi.org/10.2307/j.ctvqmp3s1.6.

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"Medea." In Tragic Heroines in Ancient Greek Drama. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350104020.ch-009.

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"Medea." In Greek Tragedies as Plays for Performance, 143–56. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781119407263.ch10.

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"Medea." In Prosaschriften, 51–63. Wilhelm Fink Verlag, 2015. http://dx.doi.org/10.30965/9783846759004_007.

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Conference papers on the topic "Medea"

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Sato, Yoshiei, Ryuichi Nagaoka, Akihiro Musa, Ryusuke Egawa, Hiroyuki Takizawa, Koki Okabe, and Hiroaki Kobayashi. "Performance tuning and analysis of future vector processors based on the roofline model." In the 10th MEDEA workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621960.1621962.

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Ferrer, Roger, Vicenç Beltran, Marc González, Xavier Martorell, and Eduard Ayguadé. "Achieving high memory performance from heterogeneous architectures with the SARC programming model." In the 10th MEDEA workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621960.1621963.

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Farahani, Mostafa, and Amirali Baniasadi. "Temperature reduction analysis in Sentry Tag cache systems." In the 10th MEDEA workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621960.1621964.

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Fukumoto, Naoto, Kenichi Imazato, Koji Inoue, and Kazuaki Murakami. "Performance balancing." In the 10th MEDEA workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621960.1621966.

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Tiwari, Devesh, Sanghoon Lee, James Tuck, and Yan Solihin. "Memory management thread for heap allocation intensive sequential applications." In the 10th MEDEA workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621960.1621967.

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Biswas, Susmit, Diana Franklin, Timothy Sherwood, Frederic T. Chong, Bronis R. de Supinski, and Martin Schulz. "PSMalloc." In the 10th MEDEA workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621960.1621968.

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Russo, Enrico, Maurizio Palesi, Salvatore Monteleone, Davide Patti, Giuseppe Ascia, and Vincenzo Catania. "MEDEA: A Multi-objective Evolutionary Approach to DNN Hardware Mapping." In 2022 Design, Automation & Test in Europe Conference & Exhibition (DATE). IEEE, 2022. http://dx.doi.org/10.23919/date54114.2022.9774747.

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Tota, Sergio V., Mario R. Casu, Massimo Ruo Roch, Luca Rostagno, and Maurizio Zamboni. "MEDEA: a hybrid shared-memory/message-passing multiprocessor NoC-based architecture." In 2010 Design, Automation & Test in Europe Conference & Exhibition (DATE 2010). IEEE, 2010. http://dx.doi.org/10.1109/date.2010.5457237.

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Kaesmaier, Rainer, and Hans Loeschner. "Overview of the ion projection lithography European MEDEA and international program." In Microlithography 2000, edited by Elizabeth A. Dobisz. SPIE, 2000. http://dx.doi.org/10.1117/12.390063.

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Beisser, Eric, Michel Tissier, David Au, Stéphane Bonniol, Patrick Garcia, Philippe Morey-Chaisemartin, Dominique Sadran, Isabelle Servin, and Michel Tabusse. "European MEDEA+ CRYSTAL project: DFM photomasks inputs for EDA workflow task force." In Photomask and NGL Mask Technology XVI, edited by Kunihiro Hosono. SPIE, 2009. http://dx.doi.org/10.1117/12.824273.

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Reports on the topic "Medea"

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Merlo, A. P., and P. H. Worley. Analyzing PICL trace data with MEDEA. Office of Scientific and Technical Information (OSTI), November 1993. http://dx.doi.org/10.2172/10112559.

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Spencer, M. N., J. S. Dickinson, and D. J. Eckstrom. Diagnostics Development for E-Beam Excited Air Channels. Conductivity Measurements on the Medea Electron Beam. Fort Belvoir, VA: Defense Technical Information Center, September 1985. http://dx.doi.org/10.21236/ada339849.

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Velázquez, A., D. Renó, AM Beltrán Flandoli, JC Maldonado Vivanco, and C. Ortiz León. From the mass media to social media: reflections on the new media ecology. Revista Latina de Comunicación Social, March 2018. http://dx.doi.org/10.4185/rlcs-2018-1270en.

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Bowman, WillieDell, Godfred Demandante, Mike DeYoung, Bruce Flory, Mary Forte, Ronnie Foxx, Jeff Germand, Frank Higgins, Patty Hunt, and Mario Messen. News Media. Fort Belvoir, VA: Defense Technical Information Center, January 2001. http://dx.doi.org/10.21236/ada524086.

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Beard, Wallace, Jean Benfer, Joseph Bohr, Robert Castellvi, Jill Chambers, Kimberly Crider, Nancy Hacker, Perry Holloway, Katherine Isgrig, and Ali Khan. News Media. Fort Belvoir, VA: Defense Technical Information Center, January 2004. http://dx.doi.org/10.21236/ada524499.

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Bautch, Anne, Shannon Benash, Ty Dilts, Chris Fripp, Meghan Obermeyer, Stephanie Petersen, and Justin Smith. Social Media. Fort Belvoir, VA: Defense Technical Information Center, May 2010. http://dx.doi.org/10.21236/ada571496.

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Mullainathan, Sendhil, and Andrei Shleifer. Media Bias. Cambridge, MA: National Bureau of Economic Research, October 2002. http://dx.doi.org/10.3386/w9295.

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Lilly, B. Media Subtype Registration for Media Type text/troff. RFC Editor, January 2006. http://dx.doi.org/10.17487/rfc4263.

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Padania, Sameer Padania. The role of media festivals in strengthening independent media. International Media Support (IMS), August 2023. http://dx.doi.org/10.15868/socialsector.42479.

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Vieira, António. Media and Communication. Basel, Switzerland: Librello, 2013. http://dx.doi.org/10.12924/librello.mac.

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