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Relevant bibliographies by topics / Medea (Greek mythology) in literature

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Academic literature on the topic 'Medea (Greek mythology) in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Medea (Greek mythology) in literature"

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Hassan, Zena D. Mohammed, and Dheyaa K. Nayel. "The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology." Journal of Language Teaching and Research 15, no. 2 (March 1, 2024): 374–82. http://dx.doi.org/10.17507/jltr.1502.06.

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Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his “Metamorphoses” (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480–406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds.

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Bangasin, Alneza M. "The Fridging of Selected Female Characters in Greek Mythology." Journal of Women Empowerment and Studies, no. 26 (October 10, 2022): 8–18. http://dx.doi.org/10.55529/jwes.26.8.18.

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This study deals with the selected female characters from Greek Mythology. The selected female characters are analysed according to the trope Women in Refrigerator. Descriptive qualitative analysis has been employed in this study. The following female characters analysed in this study are Medea, Medusa, Arethusa, Andromeda, Danaë, Daphne, Eurydice, Antigone, Helen, and Cassandra. The aforementioned characters possess the trait of a fridged woman trope. These women have been, in one way, or another, killed, abused, and or depowered to serve the character of a male protagonist thereby reducing their characters as a plot device leaving no room for character development. This study is beneficial to enthusiasts of literature specifically the following: students, educators, and future researchers. This research will help readers to view female characters under the spotlight of the trope, Women in Refrigerator. The researcher suggests that authors be made aware of the aforementioned trope so that they do not compose their characters in this manner.

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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox." Ramus 41, no. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.

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It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.

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Cai, Suiran. "Medea's Rise in Feminist Consciousness." Journal of Education, Humanities and Social Sciences 7 (January 13, 2023): 148–53. http://dx.doi.org/10.54097/ehss.v7i.4077.

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Medea is a representative female image in ancient Greek mythology. Her experience reflects the rise in feminist consciousness, and her image portrays the strong and unrepressed desire in Greek traditional culture. Medea illustrates her constant pursuit of a romantic relationship, and within her unrestrained character lays a lasting spirit. Medea's feminist consciousness is constantly awakened and developed and has experienced stages of awakening to expansion with the change in her relationship. Facing the betrayal of love, her brutal nature breaks out. In the later period, the "devil" side of her nature appears. She begins to question what was originally regarded as life, using wisdom to fight against power and expressing a shocking resistance to "love" and dignity. Medea has become a model figure in ancient women's struggle for freedom and her revenge signifies the awakening of feminist consciousness.

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Osińska, Dorota. "VICTORIAN HELLENISM AND TRAUMA: THE REINTERPRETATION OF MEDEA IN AUGUSTA WEBSTER’S “MEDEA IN ATHENS”." Acta Philologica, no. 60 (2023) (September 30, 2023): 137–51. http://dx.doi.org/10.7311/acta.60.2023.11.

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The 19th-century reinterpretations of Hellenic myths serve as an effective tool for discussing the female experience of exclusion and inclusion. Medea, one of the most notorious heroines of Greek mythology, recurrently permeated the Victorians’ consciousness, both in poetry and the visual arts. Traditionally, she is perceived as a filicide perpetrator, a femme fatale or a fallen woman. However, 19th-century British women poets represented Medea in a more subversive way. The present article explores how the mid-Victorian poet Augusta Webster (18371894) reimagines Medea as a woman confronting personal trauma. This article offers a detailed analysis of the poem, taking into account the psychological manifestations of traumatized sensibility and Medea’s strategies in describing her predicament. Webster’s Victorian reworking of Medea provides an intriguing literary portrayal of a traumatic response to marital breakdown, alienation, and filicide.

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Metreveli, Lili. "Reception of Medea’s Image in Grigol Robakidze’s Novel „Megi the Georgian Girl“." International Journal of Social Sciences and Humanities Invention 5, no. 3 (March 22, 2018): 4536–39. http://dx.doi.org/10.18535/ijsshi/v5i3.09.

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Greek mythology (myth about the Argonauts) have made character of Medea of Colchis the indivisible part of world cultural heritage. For centuries character of Medea has maintained its significance and comprised source of inspiration for the representatives of various spheres of fine arts.[1] Of course, regarding the contexts of the epochs (conceptual and esthetic position) and author’s intent, some motifs of the Argonauts’ myth and character of the woman of Colchis have been changing. In this respect, novel „Megi, Georgian Girl“ by Georgian modernist writer, Grigol Robakidze is of interest. Text, first published in 1932 in Germany[2] was translated into Georgian in 2012 and it is not properly studied till now.

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Manuwald, Gesine. "MEDEA: TRANSFORMATIONS OF A GREEK FIGURE IN LATIN LITERATURE." Greece and Rome 60, no. 1 (March 12, 2013): 114–35. http://dx.doi.org/10.1017/s0017383512000290.

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Latin writers in the ancient world are well known to have been familiar with earlier Greek writings, as well as with the first commentaries on those, and to have taken over literary genres as well as topics and motifs from Greece for their own works. But, as has been recognized in modern scholarship, this engagement with Greek material does not mean that Roman writers typically produced Latin copies of pieces by their Greek predecessors. In the terms of contemporary literary terminology, the connection between Latin and Greek literature is rather to be described as an intertextual relationship, which became increasingly complex, since later Latin authors were also influenced by their Roman predecessors.

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Manzoor, Sohana. "Translating Medea’s Infanticide:." Crossings: A Journal of English Studies 10 (August 1, 2019): 86–94. http://dx.doi.org/10.59817/cjes.v10i.86.

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The figure of Medea is indeed one of the most enigmatic and problematic characters of Greek mythology. In Euripides’ Medea, the problem becomes acute because it is not merely a vengeful character that the reader comes across, but a woman who in order to avenge her husband’s betrayal, chooses to kill her own children. And in traditional patriarchal society that is certainly not acceptable. In the recent past, Medea’s actions have presented her as a cruel hearted murderess, a passionate woman bent on revenge, a mortal woman emerging as a goddess through her actions, and even as one of the first feminists to have uttered vengeance against man’s unfair treatment of women. While this paper looks at all those interpretations, it also attempts to analyze and interpret the riddle of Medea from other perspectives. Drawing on the historical background of the Asian sorceress, this paper aims to present Medea as a lost voice of matriarchy that retaliates against the father’s rule that denies a mother to have any hold over her children. In the process, the woman may lose her most precious possessions, she may also be deemed as a monster, but she also just might regain her honor and esteem.

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Campbell, Celia Mitchell. "MEDEA'S SOL-IPSISM: LANGUAGE, POWER AND IDENTITY IN SENECA'S MEDEA." Ramus 48, no. 01 (June 2019): 22–53. http://dx.doi.org/10.1017/rmu.2019.7.

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Recent investigations of Seneca's Medea have found consistently fascinating the way in which Medea progressively flags her realization of enacted identity and selfhood. She self-consciously pierces the fabric of her drama with identifying declarations, colored by especial reference to her name: the announcement Medea superest (‘Medea remains’, 166) and bald statement of fiam (‘I will be’, 171) in response to hearing her own name lead to the supreme utterance of Medea nunc sum (‘now I am Medea’, 910). Medea conjures herself into being with these three identifications, stepping fully into the troubling contours she knows of not only her own mythology, but also her literary history. Medea's dominating focus on her name allows this layered acknowledgement of self, of Medea as both mythological figure and literary fixture. In resultant discussions, the weight given to her name in precipitating this sense of identity within her play has, quite naturally, led to a proportionate emphasis upon who Medea is. In some ways, Medea's notably self-annotative process of becoming ‘Medea’ eclipses other useful interrogative frameworks of her identity: the spotlight on the ‘who’ of Medea comes somewhat at the expense of the ‘what’, or the ‘how’. This is not to say that such categories are not mutually informative or intertwined, for Medea (by Seneca's time) does, in fact, have a defining act: the murder of her children. Who Medea is stems from what she does, the sentiment vividly expressed by Medea nunc sum. In light of these considerations, I would suggest a different perspective from which to conceptualize Medea's identity, one that takes into account the paired aspects of being and doing that together comprise an understanding of character, especially within drama. This perspective departs from a framework dependent on progressive structural characterization, as represented by the trio of passages cited above, and focuses instead on characterization via demonstrated patterns of linguistic tendency, on both macroscopic and microscopic levels. From the beginning, Medea displays measured consistency with her relentless knowledge of self as she transforms these categories of identification and action: as the play develops, her sense of ‘this is who I am’ becomes ‘this is what I do’.

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Yang, Yixuan. "The Embodiment and Interpretation of Greek Mythology in The Renaissance: Analyzing Perseus with The Head of Medusa." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 603–7. http://dx.doi.org/10.54097/tjamp162.

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Greek mythology had a significant influence on the arts and literature in the Renaissance. From the epic poems of Iliad and Odyssey and the ancient Theogony, to the well-known plays of Greek tragedy and modern adaptations of the gods and heroes in both literature and screens, Greek mythology is foreign to no one. This dissertation aims to discuss the embodiment and the inventive interpretation of Greek mythology in a piece of Renaissance artwork Perseus with the head of Medusa. It looks into the original story from Hesiod’s Theogony and Ovid’s Metamorphoses and analyzes the symbolic influence of classical traditions. Expanding the contextual perspectives puts the artwork on a wider stage of the society of the time and examines the semiotics within this sculpture that show the unique Renaissance interpretation. The Renaissance concept about secularism, rationalism, and individualism is also explained through the iconography analysis and the comparison with the ancient artwork. With the help of useful references, this dissertation incorporates aspects like art, mythology, literature, politics, social psychology, and ideology to offer some knowledge of the sculpture by Cellini as well as the Renaissance world.

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Dissertations / Theses on the topic "Medea (Greek mythology) in literature"

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Kobusch, Beate Pio Giovanni Battista. "Das Argonautica-Supplement des Giovanni Battista Pio Einleitung, Edition, Übersetzung, Kommentar /." Trier : WVT, Wissenschaftlicher Verlag, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56679096.html.

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Masciadri, Virgilio. "Eine Insel im Meer der Geschichten : Untersuchungen zu Mythen aus Lemnos /." Stuttgart : Steiner, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016376984&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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O'Neill, G. G. "A study of the major speeches in Euripides' Medea." Thesis, Queen's University Belfast, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252596.

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Van, Zyl Smit E. "Contemporary witch : dramatic treatments of the Medea myth." Thesis, Stellenbosch : University of Stellenbosch, 1987. http://hdl.handle.net/10019.1/1440.

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Mills, Sophie. "Theseus and the ideals of Athens in literature from Homer to Euripides." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334163.

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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.

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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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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.

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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.

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Fisher, Elizabeth A. "Planudes' Greek translation of Ovid's Metamorphoses." New York : Garland Pub, 1990. http://catalog.hathitrust.org/api/volumes/oclc/21077839.html.

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Roos, Bonnie. "Reviving Pygmalion : art, life and the figure of the statue in the modernist period /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045092.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-283). Also available for download via the World Wide Web; free to University of Oregon users.

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Books on the topic "Medea (Greek mythology) in literature"

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Roeske, Kurt. Die verratene Liebe der Medea: Text, Deutung, Rezeption der Medea des Euripides. Würzburg: Königshausen & Neumann, 2007.

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Underiner, Tamara L. Euripides' Medea and Electra. Piscataway, N.J: Research & Education Association, 1995.

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Euripides. Medea. Studio City, CA: Players Press, 1992.

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Euripides. Medea. Oxford: Oxbow, 2010.

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Euripides. Medea. Indianapolis: Hackett, 2008.

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

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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 (Greek mythology) in literature"

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Gilhuly, Kate. "Medea in Corinth." In Erotic Geographies in Ancient Greek Literature and Culture, 30–42. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315182667-3.

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Gottesman, Rachel. "The Unpardoned Gaze: Forbidden Erotic Vision in Greek Mythology." In Sensational Pleasures in Cinema, Literature and Visual Culture, 21–34. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137363640_2.

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.

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Nikiforova, Larisa. "Medea’s Russian Images on Stage and in Literature." In Mapping Medea, 39—C3P69. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192884190.003.0003.

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Abstract This chapter introduces the vicissitudes of Medea in Russia, including the performance and translation of German and French versions as part of transnational court culture. Nikiforova additionally explores prose versions of the Medea story written for a broader audience as well as Russian folklore with obvious parallels to the Greek myth. The chapter highlights the significant ways in which the Colchian story was invoked by Catherine the Great herself. In the Russian context, it becomes apparent that current political events were scrutinized in the guise of classical myth, combined with indigenous legends, during a century dominated by a strong female rulers.

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"Greek Mythology in Israeli Children’s Literature." In Our Mythical Childhood... The Classics and Literature for Children and Young Adults, 307–32. BRILL, 2016. http://dx.doi.org/10.1163/9789004335370_022.

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"3 A New Greek Imperial Mythology." In The Danielic Discourse on Empire in Second Temple Literature, 52–77. BRILL, 2017. http://dx.doi.org/10.1163/9789004331310_004.

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Brown, Sarah Annes. "'Hail, Muse! Et Cetera'': Greek Myth in English and American Literature." In The Cambridge Companion to Greek Mythology, 425–52. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521845205.017.

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Nikolaidou, Smaro. "Information and Decision in Sophocles’ Trachiniae and Euripides’ Medea and Ino." In Witnesses and Evidence in Ancient Greek Literature, 249–66. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110751970-013.

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Brumble, H. David. "Let Us Make Gods in Our Image: Greek Myth in Medieval and Renaissance Literature." In The Cambridge Companion to Greek Mythology, 407–24. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521845205.016.

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Lomeli, Timothy. "L’eterno Altro: il mito di Medea ad Haiti in Ma’Déa di Eduardo Manet (1985)." In Le forme del sentire. LED Edizioni Universitarie, 2019. http://dx.doi.org/10.7359/1124-2023-lomt.

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The Medea myth is one of the most enduring myths of Greek mythology and has been readapted for many different times and cultures. In 1985, Eduardo Manet, Mimi Barthélémy, and Fatima Soualhia collaborate on the play Ma’Déa. This new adaptation of the play takes the Greek myth and sets it in Haiti in 1946. This article uses Robert Stam’s concept of “revisionist adaptations” to examine the implications of the newly transposed historical context, the American occupation of Haiti (1915-1934), and the January Revolution of 1946. As well as how the addition of Haitian vodou allows Ma’Déa to reclaim her agency and reroot herself into her culture and community. Ultimately, this article demonstrates that the transposition of Medea into Haiti allows the authors to criticize American hegemony as well as revalorize Haitian cultural knowledge and practices.

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Conference papers on the topic "Medea (Greek mythology) in literature"

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Pan, Jie. "Research on the Influence of Greek Mythology on Anglo - American Language and Literature." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.297.

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Liu, Hong. "An Analysis of the Enlightenment of Greek and Roman Mythology to English Language and Literature." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.95.

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