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

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  2. Dissertations / Theses
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Academic literature on the topic 'Medea (Greek mythology) in opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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

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Liang, Hongxin. "The Standpoint of Goodness: On the Dramatic Ethics in Medea." Scientific Journal Of Humanities and Social Sciences 7, no. 5 (2025): 195–99. https://doi.org/10.54691/1xf4wk06.

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In Medea, Euripides not only portrays the most classic female characters in ancient Greek tragedy through dark, violent, and bold means, but also presents the differentiated ethics and morals in ancient Greek polis to the audiences from a mythological perspective, the core conflict of tragedy points to the irreconcilable micro conflict, which directly involves different standpoints of goodness. This paper combines the concept of "literary judge" with the drama studies, attempting to explore the tragic causes of the Medea murder case from the aspects such as moral oppression in ancient Greek po
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Scoggins, Rachel. "Reexamining Medea’s Monstrosity in Greek Mythology and Eilish Quin’s Medea." Humanities 13, no. 6 (2024): 168. https://doi.org/10.3390/h13060168.

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In 2024, Eilish Quin published the novel Medea, which is a feminist approach to the Medea myth from Greek mythology. Medea’s myth is heavily influenced by Euripides’ play Medea, a play in which she kills her children to enact revenge on her cheating husband Jason. Quin’s novel is a reimagining of the myth, which explores Medea’s monstrosity and attempts to make her more sympathetic and less monstrous than the source text. I argue that Quin’s novel pulls from established characteristics of Medea that depict her as a monster and attempts to shift the narrative perspective. Using monster theory,
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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 (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 (700B
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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
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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 pe
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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 (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 intere
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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 t
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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
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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 (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 dialecti
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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 (2018): 115–23. http://dx.doi.org/10.1007/s11059-018-0452-y.

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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 asse
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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.<br>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
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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. Pellinor, 1987.

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2

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. 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. Espaces 34, 2009.

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Griffiths, Emma. Medea. Routledge, 2006.

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

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

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

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Alfonso, Sastre. Medea. Argitaletxe Hiru, 1992.

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Lochhead, Liz. Medea. Nick Hern, 2000.

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Euripides. Medea. 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 h
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Macintosh, Fiona. "Harrison as Scholar-Poet of the Theatre." In New Light on Tony Harrison. 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
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Ashman, Mike. "Misinterpreting Verdian Dramaturgy: History and Grand Opera." In Verdi in Performance. 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 repo
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Grene, Nicholas. "Strategies of Adaptation." In Irish Theatre in the Twenty-First Century. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198893073.003.0008.

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Abstract Many poets and playwrights in the later twentieth century adapted Greek tragedies and the plays of Chekhov for the Irish stage. In the later period, Marina Carr has been the most prolific dramatist, initiating a whole series of adaptations with By the Bog of Cats … (1998), a version of Medea set in the Irish Midlands. Hilary Fannin’s Phaedra (2010) was an experimental collaboration with composer Ellen Cranitch, which took off not only from Racine’s play but Jean-Philippe Rameau’s opera Hippolyte et Aricie. Lucy Caldwell set her Three Sisters (2016) in 1990s Belfast against the backgro
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Conference papers on the topic "Medea (Greek mythology) in opera"

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Metreveli, Lili. "Three Medeas – Modernist and Postmodernist Reception of Medea Myth in Georgian Literature." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. https://doi.org/10.62119/icla.2.8436.

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Greek mythology has made character of Medea of Colchis the indivi-sible 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. 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. One part of the creators sees in it a murderous mother, the other part a vengeful wife or a traitor, while others see Medea as the first fem
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