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Journal articles on the topic 'Medea (Euripides)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

Cropp, Martin, and Donald J. Mastronarde. "Euripides: "Medea"." Phoenix 58, no. 3/4 (2004): 362. http://dx.doi.org/10.2307/4135179.

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3

Hansen, Hardy, and Donald J. Mastronarde. "Euripides: "Medea"." Classical World 97, no. 4 (2004): 454. http://dx.doi.org/10.2307/4352887.

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4

Torrance, Isabelle, D. Egan, and D. Egan. "Euripides: Medea." Classics Ireland 13 (2006): 97. http://dx.doi.org/10.2307/25528451.

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5

Meridor, Ra'Anana. "Euripides, Medea 639." Classical Quarterly 36, no. 1 (May 1986): 95–100. http://dx.doi.org/10.1017/s0009838800010569.

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Modern interpretation tends to take E. Med. 639, ‘driving from the senses over a second bed’ (θυμ⋯ν ⋯κπλήξασ' ⋯τέροις ⋯π⋯ λέκτροις), found within the petition of the chorus that ‘dread Cypris never…inflict angry arguments and insatiate quarrels’ (637–40a), as referring to a second bed that might allure these women themselves rather than one that might allure their husbands. None the less, the latter interpretation seems to be recommended by both the contents and the context of the line; it is also consistent with Euripidean idiom. As to the context, v. 639 is found in the second stasimon. An examination of the attitude of the chorus toward Medea up to this point may guide us towards a fuller understanding of the phrase.In her opening speech in the first episode (214ff.) Medea, who was betrayed by the husband for whom she left family and country (252ff.), persuades the already sympathetic chorus (136–8, 178f., 182) to side with her as underprivileged women in a world dominated by egocentric men (230ff.). In the first pair of strophes of the following stasimon (410–30) they accept Medea's division of human beings into ‘the female stock’ (419) and ‘the race of males’ (429) and sing of male perfidy and discrimination against women. They stress their own personal involvement by replacing ‘women’ with ‘I’ and ‘we’ in five of the seven references to the second sex (415 and 422 ‘my’, 423 and 430 ‘our’, 428 ‘I’).

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6

Meccariello, Chiara. "The First Medea and the Other Heracles." Philologus 163, no. 2 (November 6, 2019): 198–213. http://dx.doi.org/10.1515/phil-2018-0021.

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Abstract This paper focuses on the presumed existence of two versions of Medea and Heracles in the Euripidean corpus that circulated in antiquity. After a brief review of the main papyrological evidence, namely P.Oxy. LXXVI 5093 for the Medea and P.Hibeh II 179 for the Heracles, I discuss the implications of adding another Medea and another Heracles to the Euripidean corpus in the light of the extant ancient testimonies on the number of works in Euripides’ oeuvre. Moreover, I examine the clues provided by the headings of the hypotheses of the extant Medea and the extant Heracles as preserved in P.IFAO inv. PSP 248 and P.Oxy. LXXXI 5284. On these grounds, I argue that the supposed evidence for the existence of two distinct Medea and two distinct Heracles plays should not be interpreted as evidence of double authorial versions.

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7

Cairns, Douglas. "THE DYNAMICS OF EMOTION IN EURIPIDES’ MEDEA." Greece and Rome 68, no. 1 (March 5, 2021): 8–26. http://dx.doi.org/10.1017/s0017383520000212.

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Medea's emotions loom large in a wide range of dramatic, literary, and philosophical sources from Euripides onwards. In focusing on aspects of the emotional texture of the original Euripidean play, all one can do is scratch the surface of an enormous subject, both in that play and in its reception in ancient literature and thought. Fortunately, we have the other articles in this issue of Greece & Rome to supplement this inevitably limited perspective. My procedure in this short paper is simply to highlight certain aspects of the dramatization of emotion in Euripides’ Medea that strike me as especially worthy of analysis in terms of ancient or modern emotion theory.

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8

Villalba-Lázaro, Marta. "After Euripides: Esotericism in Medea’s English Literary Tradition." Athens Journal of Humanities & Arts 10, no. 1 (December 20, 2022): 37–54. http://dx.doi.org/10.30958/ajha.10-1-2.

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The Euripidean Medea remains a mystery to human understanding The esotericism of her story has allowed for dramatically different representations. In tracing her English literary history, from classical to contemporary dramatists, this paper follows Medea’s characters throughout the centuries. Drawing on Euripides, it provides a wide perspective on a long tradition, pointing out the distinctive intellectual and moral features of each historical period. In particular, it aims to show how this esoteric figure actually suits the writers’ ideology, who recurrently use Medea as a symbol to serve their different political and moral purposes, proving the malleability and esotericism of myth.

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9

Kim,Yong-Min. "Transformation des Medea-Mythos - Medea von Euripides." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 48 (June 2010): 165–85. http://dx.doi.org/10.30947/zfdsl.2010..48.165.

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10

Hadiyanto, Hadiyanto. "Killing Guiltlessly as Reaction of Sadistic Personality Disorder in Euripides’ Medea (A Psychological Approach in Literature)." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (June 10, 2020): 1–10. http://dx.doi.org/10.14710/culturalistics.v4i1.6649.

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ABSTRACT This research paper is aimed at analyzing one of Euripides’ well-renowned classical literary works entitled Medea by focussing on Medea as the main character of the story, Medea’s psychological state, psychological reason, and sadistic personality disorder reaction. This research paper uses psychological approach in analyzing the related psychological phenomena in Euripides’ Medea. The resut of the research indicates that Medea, who gets accustomed to being raised in a barbarous family and living in a barbaric environment, has a natural impulsive behaviour to kill other persons guiltlessly. Key words: killing, guiltless feeling, sadistic personality disorder

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11

Rickert, GailAnn. "Akrasia and Euripides' Medea." Harvard Studies in Classical Philology 91 (1987): 91. http://dx.doi.org/10.2307/311401.

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12

Kovacs, David. "Euripides, Medea 1–17." Classical Quarterly 41, no. 1 (May 1991): 30–35. http://dx.doi.org/10.1017/s0009838800003505.

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The text and apparatus below are Diggle's. At the end of the article I give, for the sake of the curious, an expanded version, for 11ff., of Wecklein's ‘Appendix coniecturas minus probabiles continens’, with references where they are known to me.

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13

Joyal, Mark. "Euripides, Medea 486–7." Classical Quarterly 41, no. 2 (December 1991): 524–25. http://dx.doi.org/10.1017/s0009838800004663.

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So Diggle's recent text and apparatus criticus; so too its predecessor in the Oxford series (Murray). Advocates of πντα δ' ξεῖλον ϕ ϕβον have, however, been in a considerable majority, and include Porson, Elmsley, Bothe, Weil, Wecklein, Nauck, Paley, Verrall, Meridier, and, more recently, Schiassi (1967) and Ebener (1972). But Page's objection (ad loc.) cannot be lightly dismissed: ‘With ϕ ϕβον here, σο must be understood; and the ellipse seems intolerable.’ To this I would add what appears to have been largely disregarded, namely that the contextual and thematic significance of δμον is an even stronger argument in its favour. Medea is ἄπολις (255, cf. 645–53 [ἄπολις 646], 386), having lost not only her home in Colchis (31–5, 166–7, 798–801) but also her new home in Corinth (139, 275–81, 359–60, 435–8). In a sense the fate cruelly forced upon the daughters of Pelias by Medea (487 πντα τ' ξεῖλον δμον) is now visited upon Medea herself, who finds herself deserted and alone (513). This isolation brings with it the realization that to those to whom she should be ϕίλη she is now χθρ (her family in Colchis, 506–8), while those whom she should be able to regard as ϕλoι are now χθρ (Jason, 467; even her children, 36, 112–14, 116–17; cf. the pointed, programmatic νν δ' χθρ πντα κα νοσεῖ τ ϕλτατα in 16). Her response? As Medea had done in Iolcus, so δμον τε πντα συγχασʼ Ἰονος | ἔξετιτι γαας κτλ. (794–5; cf. 114 πς δμος ἔρροι).

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14

Dyson, M. "Euripides, Medea 926–31." Classical Quarterly 38, no. 2 (December 1988): 324–27. http://dx.doi.org/10.1017/s0009838800036983.

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The above is the text of Medea 922–33 and a selection of the critical apparatus from the Oxford text edited by J. Diggle. In his discussion of the variant readings at 926 Diggle leaves open the choice between θήσομαι and θήσω. It seems to me worth noticing that an old proposal of Theodor Ladewig to transpose 926–8 and 929–31, which has in any case much to commend it, has a bearing on the solution of this problem.

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15

Newton, Rick M. "Ino in Euripides' Medea." American Journal of Philology 106, no. 4 (1985): 496. http://dx.doi.org/10.2307/295201.

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16

Kovacs, David. "Zeus in Euripides' Medea." American Journal of Philology 114, no. 1 (1993): 45. http://dx.doi.org/10.2307/295381.

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17

Kasimis, Demetra. "Medea the Refugee." Review of Politics 82, no. 3 (2020): 393–415. http://dx.doi.org/10.1017/s0034670520000376.

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AbstractThis essay reads Euripides's Medea, the tragedy of filicide, as a critical investigation into the making of a refugee. Alongside the common claim that the drama depicting a wife murdering her children to punish an unfaithful husband is about gender inequity, I draw out another dimension: that the text's exploration of women's subordination doubles as a rendering of refuge seeking. Euripides introduces Medea as a phugas, the term for a person exiled, on the run, displaced, vulnerable, and in need of refuge. I adopt the phugas as a lens for interpreting the tragedy and generating enduring insights into dynamics of “forced” migration. Taking this political predicament as the organizing question of the text enables us to understand how dislocation from the gender-structured family can produce physical displacement and a need for asylum while casting the political meaning of Medea's kin violence in a new light.

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18

Tessitore, Aristide. "Euripides' Medea and the Problem of Spiritedness." Review of Politics 53, no. 4 (1991): 587–601. http://dx.doi.org/10.1017/s0034670500016314.

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The Medea is Euripides' most famous play and perhaps his most enigmatic. The unwieldy character of the play's central figure and the movement of the play as a whole defy the traditional categories of tragedy. Attentiveness to the usually neglected political dimension of Medea sheds new light on some of its persistent enigmas. It also suggests that Euripides was less than sanguine about the kinds of excesses the impending war with Sparta was likely to call forth from citizen soldiers. Most importantly, it brings to light Euripides' sober assessment of an enduring political problem: the irreducibly ambiguous character of spiritedness, the warrior virtue par excellence.

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19

Teramura, Misha. "Spenser’s Chrysogone and Euripides’ Medea." Notes and Queries 64, no. 2 (May 10, 2017): 254–55. http://dx.doi.org/10.1093/notesj/gjx057.

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20

Smethurst, Mae J. "Ninagawa's Production of Euripides' Medea." American Journal of Philology 123, no. 1 (2002): 1–34. http://dx.doi.org/10.1353/ajp.2002.0015.

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21

Giombini, Stefania. "The law in Euripides’ Medea." Revista Archai, no. 21 (2017): 199–228. http://dx.doi.org/10.14195/1984-249x_22_8.

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22

Barlow, Shirley A. "EURIPIDES' MEDEA: A SUBVERSIVE PLAY?" Bulletin of the Institute of Classical Studies 40, Supplement_66 (July 1, 1995): 36–45. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02178.x.

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23

MARAVELA-SOLBAKK, ANASTASIA. "EURIPIDES' MEDEA 723–30 REVISITED." Classical Quarterly 58, no. 2 (December 2008): 452–60. http://dx.doi.org/10.1017/s0009838808000542.

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24

Gadberry, Glen W. "The Black Medeas of Weimar and Nazi Berlin: Jahnn-Straub and Straub-Grillparzer." Theatre Survey 33, no. 2 (November 1992): 154–66. http://dx.doi.org/10.1017/s0040557400002386.

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While earlier dramatists treated Medea as a dramatic character, it was Euripides who gave her enduring theatrical prominence. Beyond crafting a timely attack upon a treacherous Corinth to appeal to Athens at the start of the Peloponnesian War, Euripides developed Medea to question the social role of women within a proudly patriarchal society. And he may have been the first to make Medea a non-Greek, a Colchian, a “barbarian”—a term that had become more derisive in the fifth century. In the Golden Age, a female foreigner was marginalized by gender and by heritage/race/ethnicity; a justified or sympathetic Medea challenged Athenian prejudices about both. Yet this Medea is problematic: a seriously aggrieved wife is driven to horrible acts against Greeks—Jason, his sons, the king of Corinth, and as a complicating fillip of multi-gender vengeance, the female rival. Our sympathies are subverted: a wronged Medea could also be a bloody figure of feminine and alien power, fatal to men and women, public and domestic order.

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25

Иванова, Ирина, and Irina Ivanova. "Loss of femininity by Medea: Reasons and an ethical evaluation." Servis Plus 8, no. 3 (September 1, 2014): 68–80. http://dx.doi.org/10.12737/5540.

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The author of the article seeks to reveal the reasons for the loss of femininity by heroines’ suffering from the Medea complex. To this end, the author considers the various developments of the plot featuring a betrayed woman taking revenge on her husband to be found in mythology, Euripides’ tragedies, Jean Marie Lucien Pierre Anouilh’s dramas, Yuri Petrovich Lyubimov’s theatrical performances at the Taganka Theatre. The author demonstrates that the revenge of mythological Medea is extolled and sanctified by Helios. In «Medea» created in a patriarchy-dominated period, Euripides shows a different attitude: his sympathy for the heroine reveals itself in Medea’s monologue, however, his condemnation of children-destruction by Medea is evident through the chorus cues. The image of the heroine is still elevated and stirs up sympathy. Lyubimov theatrical performance is inspired by Euripides’ tragedy, but the director gives a broad hint at the Medea tragedy repeating itself in the contemporary context. Kama Ginkas’ theatrical performances, emphasis is laid on Medea’s villainy, rather than on a feat of love. The author of the article claims that the evolution of the interpretation of Medea’s image is in tune with the evolution of cultural values over time. The view of Medea as alien to femininity is related by the author to the dominance of patriarchy and Christianity, which the author is agreed with and concludes that currently the image of Medea is to be seen as a negative example which serves to demonstrate that revenge, murder, and lack of maternal duty are incompatible with the concept of femininity. The author proves that the Medea complex identification and its ethics- and aesthetics-informed interpretation are currently of utmost importance.

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26

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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Γεωργακάκη, Ε. "Euripides’ Medea on stage, Smyrna 1898." Kathedra, no. 14(1) (March 23, 2023): 67–80. http://dx.doi.org/10.52607/26587157_2023_14_67.

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Το μελέτημα αναφέρεται στις δύο παραστάσεις της Μήδειας του Ευριπίδη από μαθητές Γυμνασίου της Ευαγγελικής Σχολής της Σμύρνης το 1898, σε διδασκαλία του καθηγητή Αντωνίου Βορεάδη. Η διδασκαλία του αρχαίου δράματος στα ελληνικά σχολεία της Σμύρνης είχε ενταχθεί ήδη πριν από την Ελληνική Επανάσταση του 1821, στην ύλη των αρχαίων ελληνικών. Μεταφράσεις και θεατρικές παραστάσεις αρχαίου δράματος στα ελληνικά σχολεία της Σμύρνης εντοπίζονται μετά τα μισά του 19ου αιώνα. Παρόλο που στο ρεπερτόριο των ελληνικών και ξένων θιάσων της εποχής εντοπίζονται παραστάσεις αρχαιόθεμων δραμάτων της κλασικίζουσας δραματουργίας με τον τίτλο Μήδεια, φαίνεται πως η παράσταση του ευριπίδειου δράματος στη Σμύρνη το 1898 είναι η πρώτη κατά τους νεώτερους χρόνους. This study gives a brief overview of the two recorded performances of Euripides’ Medea by students at the Evangelical School in Smyrna, in 1898, directed by their teacher Antonios Voreadis. Ancient Greek drama was taught in the Greek Schools of Smyrna already before the Greek Revolution of 1821, in the syllabus of ancient Greek language. Translations and performances of ancient Greek drama in the Greek schools of Smyrna are recorded after the second half of the 19th century. Although a considerable number of dramas called Medea, western European offsprings of the ancient Greek prototype, are detected in the repertoire of the Greek and foreign troupes who gave performances in Greece and the cities where the Hellenic Diaspora lived and thrived at that time, the performances of 1898 in Smyrna seem to be the first recorded ones of the Euripidean tragedy in recent times.

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Perris, Simon. "Is There a Polis in Euripides’ Medea?" Polis: The Journal for Ancient Greek Political Thought 34, no. 2 (November 11, 2017): 318–35. http://dx.doi.org/10.1163/20512996-12340130.

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Abstract The polis is a dominant force in scholarship on Greek tragedy, including Euripides’ Medea. This paper addresses the question of whether there is, in fact, a polis (i.e. a Greek-style city-state) in the play. The polis proper does not often feature in tragedy. Euripides’ Corinth, like many urban centres in tragedy, is a generic palatial settlement ruled by a king. It is not a community of citizens. Creon is a non-constitutional absolute hereditary monarch, and it is a commonplace of tragedy that absolute sole role is antithetical to the idea of the polis. Medea is exiled, not ostracised; she is never a metic. Her relationships and actions are governed by elite xenia, not citizenship. Thus, though ‘political’ interpretations of Medea are all to the good, polis-centric interpretations become much less attractive once one observes the almost complete absence of the polis from the play.

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29

Sporton, Gregory. "Medea, Dominic Cooke (dir.) (2023), Robinson Jeffers After Euripides, Soho Place Theatre, London, 16 March 2023." Scene 11, no. 1 (December 1, 2023): 99–101. http://dx.doi.org/10.1386/scene_00055_5.

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30

Lindemann, Anna. "Euripides’ Medea und die stoische Affektenlehre." Arcadia 47, no. 1 (July 2012): 1–15. http://dx.doi.org/10.1515/arcadia-2012-0008.

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AbstractHow does philosophy interact with literature? The reception of Medea’s central monologue (lines 1019–1080) in Euripides’ homonymously titled tragedy shows how literature can generate philosophical conceptions. Medea, a mythological and literary character, murders her own children in order to get back at her husband and rebuild her status and her notion of justice. Her character and her actions have become different models for the opposed schools of platonic and orthodox stoic philosophers. A new historical reconstruction of lost stoic interpretations of Euripides’ tragedy, based on philosophical discussions of the play and stoic theories of mind and action, allows us a new understanding of the debate, of the distinctions between platonic and stoic theories of mind, and of the role that literature can play in developing philosophical theories.

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31

Cavan, Stephen R., Ian C. Storey, and Emily A. McDermott. "Euripides' Medea: The Incarnation of Disorder." Phoenix 46, no. 1 (1992): 88. http://dx.doi.org/10.2307/1088785.

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32

Allan, William. "THE VIRTUOUS EMOTIONS OF EURIPIDES’ MEDEA." Greece and Rome 68, no. 1 (March 5, 2021): 27–44. http://dx.doi.org/10.1017/s0017383520000224.

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The topic of ‘virtuous emotions’ might not seem the most obvious choice for a play featuring an unfaithful husband and a child-killing mother. Nonetheless, what I intend to consider here is how the emotional responses of various characters in the Medea shape our view of their moral character. The moral role of the emotions was clear to the ancient Greeks and, after a long interlude largely dominated by the idea that, as Kant claimed in The Metaphysics of Morals, ‘no moral principle is based…on any feeling whatsoever’, moral philosophy of the past half-century or so has returned to seeing the emotions as a central part of human experience and ethical evaluation.

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33

Rabinowitz, Nancy Sorkin, and Emily A. McDermott. "Euripides' Medea: The Incarnation of Disorder." Classical World 84, no. 5 (1991): 401. http://dx.doi.org/10.2307/4350871.

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34

Castellani, Victor, and Emily A. McDermott. "Euripides' "Medea": The Incarnation of Disorder." Rocky Mountain Review of Language and Literature 45, no. 1/2 (1991): 107. http://dx.doi.org/10.2307/1346939.

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35

Segal, Charles. "Euripides' Medea : Vengeance, Reversal and Closure." Pallas 45, no. 1 (1996): 15–44. http://dx.doi.org/10.3406/palla.1996.1392.

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36

Schwinge, Ernst-Richard. "Medea bei Euripides und Christa Wolf." Poetica 35, no. 3-4 (June 27, 2003): 275–305. http://dx.doi.org/10.30965/25890530-0350304003.

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37

Fialho, Maria do Céu. "The political background of Euripides’ Medea." Revista Archai, no. 14 (2015): 21–25. http://dx.doi.org/10.14195/1984-249x_14_2.

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Barlow, Shirley A. "Stereotype and Reversal in Euripides' Medea." Greece and Rome 36, no. 2 (October 1989): 158–71. http://dx.doi.org/10.1017/s0017383500029739.

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The plot of the Medea concerns infidelity, a woman discarded by her husband for another younger woman and a more ‘suitable’ match. Infidelity by the husband was not an unusual occurrence amid the material of Greek myths. In Sophocles' play The Women of Trachis the heroine Deianeira, and wife of Heracles, must reluctantly take into her household Iole, a beautiful slave-girl whom her husband has taken as his concubine. Although she is made to give voice to her regret and to her jealousy, she has no thought of harming the girl or her husband. That Heracles is finally injured is not the result of an intentional act of revenge on her part but a mistake set in train by the malevolence of someone else.

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Harrison, S. J. "A Note on Euripides, Medea 12." Classical Quarterly 36, no. 1 (May 1986): 260. http://dx.doi.org/10.1017/s0009838800010727.

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Euripides, Medea 11–13 (Diggle's Oxford text):12 πολιτ⋯ν codd. et Σbv; πολίταις (Bgl) V3, sicut coni. Barnes 13 αὐτῷ Sakorrphos; αὐτή codd. et gE et Stob. 4.23.30In his recent discussion of this passage (CQ 34 [1984], 50–1), Diggle has convincingly argued for πολίταις and αὐτῷ, the latter of which he places in his new Oxford text, but recognises that ɸυγῇ remains highly problematic (51): ‘The truth, I think, is still to seek’. It is to this last difficulty that I should like to suggest a solution.The problems of ɸυγῇ are syntactical, as Diggle clearly demonstrates (51): ‘With which verb (⋯νδάνουσα or ⋯ɸίκετο) is ɸυγῇ to be constructed?’ Of these ⋯νδάνουσα is more likely for position, ⋯ɸίκετο for sense; but the former construction produces an obscurity, the latter an unacceptable hyperbaton. Another complicating element is the juxtaposition ɸυγῇ πολιτ⋯ν. it is clearly significant, and by its intervention appears to prevent taking ɸυγῇ as ⋯π⋯ κοινο⋯ with both verbs, the third possible construction.As a solution I should like to revive a forgotten conjecture of Pierson's, made in his Verisimilia (1752). His ɸυγ⋯ς πολίταις appears both to solve all the syntactical problems and to give appropriate point to the juxtaposition of ‘exile’ and ‘citizen’. ɸυγάς would then go with ⋯νδάνουσα and bear a concessive sense: ‘pleasing, though an exile, the citizens to whose land she came’, a nuance found already in Wecklein's paraphrase of his text ɸυγῇ πολιτ⋯ν. ‘Sie gefällt denen, in deren Land sie gekommen ist, obwohl sie die Bürgerschaft als eine fremde, landesflüchtige Person gegenübersteht’. This contrast between citizen and exile and the necessity for the latter to please the former are naturally important themes in the dramatic situation of the Medea — cf. Medea's words at 222 χρ⋯ δ⋯ ξένον μ⋯ν κάρτα προσχωρεῖν πόλει, with Page's note.

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Willink, C. W. "Euripides, Medea 1–45, 371–85." Classical Quarterly 38, no. 2 (December 1988): 313–23. http://dx.doi.org/10.1017/s0009838800036971.

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Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention(s) of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance.

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Michelini, Ann N., and Emily A. McDermott. "Euripides' Medea: The Incarnation of Disorder." American Journal of Philology 112, no. 3 (1991): 401. http://dx.doi.org/10.2307/294742.

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Mezzabotta, M. R. "Jason and Orpheus: Euripides Medea 543." American Journal of Philology 115, no. 1 (1994): 47. http://dx.doi.org/10.2307/295347.

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Van Zyl Smit, B. "Medea praat Afrikaans." Literator 26, no. 3 (July 31, 2005): 45–64. http://dx.doi.org/10.4102/lit.v26i3.236.

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Medea speaks Afrikaans Euripides’ “Medea” is one of the Greek dramas that have been and still are being translated, performed and adapted in many different languages and countries. Although no Afrikaans translation of this tragedy has been published, several Afrikaans translations and adaptations of it have been staged. This paper explores these plays and the circumstances of their production and focuses especially on Tom Lanoye’s “Mamma Medea” which has been translated into Afrikaans by Antjie Krog.

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Giannopoulou, Zina. "Framing Lars von Trier’s Medea." Classical Receptions Journal 12, no. 3 (January 20, 2020): 375–99. http://dx.doi.org/10.1093/crj/clz032.

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Abstract Lars von Trier’s Medea renders on the silver screen Carl Th. Dreyer’s unrealized script from Euripides’ play. Von Trier considers Dreyer one of his greatest cinematic influences and fashions his film as a ‘personal interpretation and homage to the master’. Two prominent narrative features of Dreyer’s cinematic oeuvre are a cause/effect logic and parallelism, which create formally rigid and closed worlds governed by an abstract, impersonal order. Von Trier applies these features especially to the frame of Medea in order to enhance the theodicy of Euripides’ tragedy and Dreyer’s adaptation of it. He also plays games of cinematic reflexivity in conscious or unconscious competition with Dreyer. Finally, his directorial virtuosity manifests itself most spectacularly in the editing of the film’s frame, which arranges the segments of the prologue and the epilogue so as to engage reception as a temporal activity rooted in the past, undertaken in the present, and directed to the future.

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Williams, Jaye Austin. "Medea’s (Black) Cast:." Pacific Coast Philology 56, no. 1 (April 1, 2021): 7–26. http://dx.doi.org/10.5325/pacicoasphil.56.1.0007.

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In referencing Rena Fraden’s 2001 Imagining Medea: Rhodessa Jones and Theatre for Incarcerated Women and Kevin J. Wetmore, Jr.’s 2013 Black Medea: Adaptations in Modern Plays, I suggest that transposing Euripides’s myth into modern black contexts often endows ancient Greek drama with epistemological primacy, whether seeking the “universal” redemption it has long exemplified, or resisting that primacy through the return to a “past” or “heritage” foreclosed by the catastrophe of racial slavery. My critique is not of the substance of the works these two books showcase, all of which constitute important contributions to theater activism. Rather, I aim to expose the transpositional limits of the figure of Medea, whose racial marking (to which I suggest Euripides hints, whether consciously or not), while signifying as stranger/outsider, is often obscured by a gendered, geographical and/or existential “othering,” rather than recognized as a plight of ontological proportion. As such, a blackened Medea can appear to possess the (structural) capacity afforded by her godly, supra-subject position. But what are the incalculable depths of her subjection and dishonor when her blackening pitches her “being” into an ontological dilemma that neither catharsis, nor the intervention of a deus ex machina can recuperate?

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Shama, Mahbuba Sarker. "Jason and Medea’s Relationship in Medea:." Crossings: A Journal of English Studies 8 (August 1, 2017): 173–78. http://dx.doi.org/10.59817/cjes.v8i.142.

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Medea in Euripides’ Medea murders her two sons to take revenge on her husband Jason who has married the Corinthian princess Glauce for royal power. However, little attention has been paid towards the cause behind the killing of her sons. This paper will examine the marital relationship between Medea and Jason from the perspective of the colonizer and the colonized and it will show Medea as the victim colonized who kills her brother and leaves her native land Colchis to marry Jason. Jason is presented as the oppressor colonizer who betrays Medea without whom he could have never achieved the Golden Fleece. The terms colonizer and colonized which are at the heart of the postcolonial theory are hardly applied with the play Medea. Therefore, analyzing this topic from the present day postcolonial theory adds a new perspective to this Greek play.

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Fisher Sorgenfrei, Carol. "The Sense of an Ending: Contemporary Visions of Medea." New Theatre Quarterly 38, no. 3 (July 19, 2022): 242–57. http://dx.doi.org/10.1017/s0266464x22000173.

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The story of Medea’s murder of her own children to gain revenge against their faithless father has been tackled from many angles by playwrights and directors from Euripides’ time to the present. In recent years, due to highly sensationalized, real-life cases of mothers murdering their children, it has become fodder for sociologists, criminologists, psychologists, and feminists. Many recent productions (both original plays and directorial approaches to Euripides’ original) have avoided tackling the difficult questions raised by Euripides’ ending, which demands an answer to the following question: how could the gods send down a dragon-drawn chariot to rescue a woman who murdered her own children? Many contemporary authors and directors prefer to eliminate Euripides’ ending in order to focus on more immediate issues, such as the psychological or social damage resulting from patriarchy, colonialism, and misogyny. After considering several such productions, this article analyzes three plays that directly tackle Euripides’ troubling ending: two original scripts, by Heiner Müller and Carol Fisher Sorgenfrei respectively; and a production of Euripides’ original by Japanese director Miyagi Satoshi. Carol Fisher Sorgenfrei is Professor Emerita of Theatre at UCLA. An expert on postwar Japanese and cross-cultural performance, she is also a translator, director, and playwright. The author of Unspeakable Acts: The Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii Press, 2005) and co-author of Theatre Histories: An Introduction (third edition, Routledge, 2016), she has published over a hundred articles, chapters, and reviews. She is an Associate Editor of Asian Theatre Journal and a Fellow of the College of Fellows of the American Theatre.

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Nascimento, Daniel Simão. "Faces of irrationality in Euripides: on Medea’s irrationality." O que nos faz pensar 27, no. 43 (December 24, 2018): 237. http://dx.doi.org/10.32334/oqnfp.2018n43a603.

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In Nascimento (2015) I criticized the thesis defended in Irwin (1983) according to which two of the most famous characters in Euripides’ plays. In that article, I’ve pointed out several weakness in these thesis in order to justify my disagreement. I also suggested that, although there was no reason why we should stop looking for examples and explanations of akratic behavior in Euripides’ plays, that should not be the only kind of irrational behavior we ought to be interested in finding there. In this paper, I argue that Medea actually instantiates a form of irrational behavior that is different from akratic behavior. The argument that follows is divided in four parts. After a brief introduction (section I), I clarify what sort of irrationality I believe to be instantiated by Medea’s behavior using Michael Bratman’s theory of plan stability (section II). Then, I analyze Euripides’ text in order to show why I think we should say that Medea does display that kind of irrationality (section III). The paper concludes with a brief summary of the argument (section IV). --- Original in English.

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Segal, Charles. "On the Fifth Stasimon of Euripides' Medea." American Journal of Philology 118, no. 2 (1997): 167–84. http://dx.doi.org/10.1353/ajp.1997.0030.

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Mueller, Melissa. "The Language of Reciprocity in Euripides' Medea." American Journal of Philology 122, no. 4 (2001): 471–504. http://dx.doi.org/10.1353/ajp.2001.0054.

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