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

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

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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

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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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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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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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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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Spies, B. "Representation and function of characters from Greek antiquity in Benjamin Britten’s Death in Venice." Literator 23, no. 1 (August 6, 2002): 1–18. http://dx.doi.org/10.4102/lit.v23i1.316.

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Lack of insight into Greek antiquity, more specifically the nature of classical tragedy and mythology, could be one reason for the negative reception of Benjamin Britten’s last opera Death in Venice. In the first place, this article considers Britten’s opera based on Thomas Mann’s novella as a manifestation of classical tragedy. Secondly, it is shown how mythological characters in Mann’s novella represent abstract ideas2 in Britten’s opera, thereby enhancing the dramatic impact of the opera considerably. On the one hand it is shown how the artist’s inner conflict manifests itself in a dialectic relationship between discipline and inspirat ion in Plato’s Phaedrus dialogue that forms the basis of Aschenbach’s monologue at the end of the opera. The conflict between Aschenbach’s rational consciousness and his irrational subconscious, on the other hand, is depicted by means of mythological figures, Apollo and Dionysus. Two focal points in the opera, namely the Games of Apollo at the end of Act 1 and the nightmare scene which forms the climax of the opera in Act 2, are used to illustrate the musical manifestation of this conflict.
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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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Chen, Rongnyu, and Tianjie Yan. "Ancient Greek tragedy in China: focusing on Medea adapted and performed in Chinese Hebei clapper opera." Neohelicon 46, no. 1 (August 22, 2018): 115–23. http://dx.doi.org/10.1007/s11059-018-0452-y.

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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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ji-won Lee. "Dance and Politics in Cultural Spaces: The Modification of Greek Mythology Focuses on Medea(2007) of Sasha Waltz." Korean Journal of Dance Studies 59, no. 2 (March 2016): 87–99. http://dx.doi.org/10.16877/kjds.59.2.201603.87.

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

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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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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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Fuelling, Christopher J. "The Ariadne project : a companion paper to the creative thesis 698 composition and performance of the opera/installation, Ariadne." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845926.

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The performance of my opera/art installation, Ariadne, on April 2 and 4, 1993, in Recital Hall, culminated a year of research, composition, production, and rehearsal upon the Ariadne Project, an interdisciplinary art collaboration. My project brought together the research, creative, and performance skills of many individuals throughout the university community and beyond. Designed as a companion paper to this composition and performance, this paper documents the inception, creation, production, and performance of the Ariadne Project. It also addresses the issues and sources dealt with and assessess the effectiveness of the product and the process.
Department of Art
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Kruk, Magdalena. "Medea--monster and victim : the representation of Medea's image in the works of Euripides, Seneca, Corneille, Anouilh and Pasolini /." 2007. http://www.consuls.org/record=b2909786.

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Thesis (M.A.) -- Central Connecticut State University, 2007.
Thesis advisor: Louis Auld. "... in partial fulfillment of the requirements for the degree of Master of Arts in French." Includes bibliographical references (leaves 61-64). Also available via the World Wide Web.
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"Conflicting aspects of character in Euripides' Medea." Thesis, 2008. http://hdl.handle.net/10210/546.

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Medea’s powerful ability to inspire and confuse is at the core of this study. The contradiction concerning Euripides’ character of Medea as a murderer and a victim will be explored in order to understand what implications this would have held for an ancient Greek audience. Thus the irregularities in this female character will be used to indicate the inconsistencies within the society from which Euripides was writing. Women’s lack of freedom in ancient Greece, their confinement to the house and their lack of opportunity to voice their opinions and concerns produced an imbalance in society. This masculine community led to extremes in behaviour. Male heroes overemphasised traits which stressed their physical prowess and masculine bravery. As a hero, Jason’s all-consuming ambition was to succeed in endeavours such as the quest for the Golden Fleece, and to reclaim his title of king. He took advantage of Medea’s gifts until she was no longer of any use to him and then left her for a younger, more beneficial princess to accomplish his subsequent task of gaining a kingdom. Medea’s excessive behaviour was a protest against her position as supportive wife when she found that Jason had neglected his obligation as a protective husband. Euripides’ tragedy was a rebellion against a cultural definition of men and women which did not work. Men were pressured into being the sole providers and authorities over a whole household, whereas women were relegated to the status of possessions. The situation generally suited men, but women were not given a choice of career and had their marriage prearranged by their fathers. More importantly they were not provided with an opportunity to voice their displeasure and were in the hands of fate, whether they attained a kind or a cruel husband. This study argues that by challenging the definition of heroes and victims, Euripides questioned the preconceived perceptions of the nature of women and foreigners. He was also commenting on social restriction and the possible consequences of restraining women’s behaviour and their opinions.
Prof. J.L.P. Wolmarans
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St-Laurent, Jean-Michel. "Les princesses Médée et Himiko : une étude comparative des mythologies grecque et japonaise." Thèse, 2017. http://hdl.handle.net/1866/20686.

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

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Cherubini, Luigi. Médée: Opera in three acts = Medea. Sydney: Pellinor, 1987.

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Isabelle, Degauque, Pellegrin M. l'abbé 1663-1745, and Salomon Joseph-François 1649-1732, eds. Médée, un monstre sur scène: Réécritures parodiques du mythe, 1727-1749, avec le livret de l'opéra Médée et Jason de Pellegrin. Saint-Gély-du-Fesc: Espaces 34, 2009.

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Isabelle, Degauque, Pellegrin M. l'abbé 1663-1745, and Salomon Joseph-François 1649-1732, eds. Médée, un monstre sur scène: Réécritures parodiques du mythe, 1727-1749, avec le livret de l'opéra Médée et Jason de Pellegrin. Saint-Gély-du-Fesc: Espaces 34, 2009.

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

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Fermín, Cabal, ed. Electra ; Medea. Madrid: Editorial Fundamentos, 1999.

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Nick, Dagmar. Medea, ein Monolog. Aachen: Rimbaud, 1991.

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Euripides. Alcestis, Medea, Hippolytus. Indianapolis: Hackett, 2007.

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Alfonso, Sastre. Medea. Hondarribia, Gipuzkoa [Spain]: Argitaletxe Hiru, 1992.

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Lochhead, Liz. Medea. [London: Nick Hern, 2000.

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

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Book chapters on the topic "Medea (Greek mythology) in opera"

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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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Macintosh, Fiona. "Harrison as Scholar-Poet of the Theatre." In New Light on Tony Harrison, 101–10. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0010.

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Tony Harrison is widely acclaimed for his ability to make the most complex arguments lucid and accessible. Yet it is this very accessibility that often belies the degree of scholarship that informs his work for the theatre, in particular. It is not just that his versions of ancient Greek plays are underpinned by solid classical learning; it is also that they involve a considerable amount of scholarly research in libraries. To bear witness to this scholar-poet's scrupulous attention to detailed scholarship, this chapter takes as case-study an overlooked text from Harrison’s corpus, Medea, A Sex-War Opera(1985). This work was commissioned by New York’s Metropolitan Opera House as a libretto for a score by Jakob Druckman that was never completed. Indeed, Harrison’s libretto has never properly seen the light of day: the only (albeit truncated) production to date - the 1991 Medea: Sex Warby The Volcano Theatre Company - interwove Valerie Solanis’ 1960’s radical feminist text, The S.C.U.M. Manifesto (Society for Cutting Up Men) into the Harrison libretto. Yet Medea, A Sex-War Opera is an ingenious, witty and hard-hitting piece of social intervention that still speaks powerfully back to, and vociferously against, twenty-first century gender discrimination. Ranging from George Buchanan’s Latin version (c.1540s) to Robert Brough’s demotic mid-Victorian burlesque (1856), the libretto is testament to Harrison’s extraordinary wide reading from ancient to modern versions of Medea’s story.
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Ashman, Mike. "Misinterpreting Verdian Dramaturgy: History and Grand Opera." In Verdi in Performance, 42–46. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167358.003.0007.

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Abstract Verdi’s choice of librettos was radical. He accepted neither endlessly recycled versions of sub-Metastasian Greek and Roman mythology nor sentimental peasant comedy stretched beyond brealci.ng point to fit preordained (and dating) musical structures. He only flirted at arm’s length with that brand of instant, melodramatic, unhistorical history from which Scribe and his less talented imitators created and maintained French Grand Opera. His desire to set Shaleespeare, Hugo, Schiller, Byron, and Gutierrez was provocative, Romantic, and thoroughly modern. Moreover, correspondence and reported conversation confirm that in both creating and giving the premieres his works Verdi was concerned pre-eminently with their dramatic meaning and their stage interpretation.
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