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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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

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12

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 (2016): 87–99. http://dx.doi.org/10.16877/kjds.59.2.201603.87.

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13

Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.

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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poe

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14

Pathak, Abhijit. "Women in Indian and Greek Epics: Some Reflections." Research Review Journal of Social Science 3, no. 1 (2023): 24–30. http://dx.doi.org/10.31305/rrjss.2023.v03.n01.004.

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In the two famous Indian epics the Ramayana and the Mahabharata, there are five admirable women - Ahalya, Draupadi, Kunti, Tara and Mandodari. These are five special women with remarkable power, wisdom, dedication, and sacrifice which are honoured across periods of the Indian civilisation. Similarly, in Greek mythology also, there are important powerful women characters having exceptional capacity and power. They are Helen, Hecuba, Medea and Thetis. They have not only portrayed their sexuality and motherhood but also demonstrated their power, virtues, kindness, grace and capacity to withstand

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15

Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.

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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ide

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16

Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.

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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the cont

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17

Shapoval, Oksana. "Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process." Aspects of Historical Musicology 16, no. 16 (2019): 52–76. http://dx.doi.org/10.34064/khnum2-16.03.

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Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the the

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18

Hwang, Kun. "Concept of Rejuvenation in Greek Mythology and Modern Plastic Surgery." Journal of Craniofacial Surgery, September 9, 2024. http://dx.doi.org/10.1097/scs.0000000000010611.

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The aim of this study is to capture the enduring fascination with youth and transformation. These themes, epitomized by the myth of Medea, resonate in the context of modern plastic surgery and cosmetic enhancements. Book 7 of Metamorphosis was read and analyzed. Medea is a sorceress and daughter of King Aeëtes. Her magical abilities are highlighted in 2 notable stories: (1) her rejuvenation of Aeson and (2) her attempt to rejuvenate herself. Aeson, the father of Jason, had grown old and frail. Medea, eager to assist Jason’s father, employed her magical abilities to restore Aeson’s youth. Medea

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19

Cho, Claire, and Christine Salerno. "Exploration of Mental Disorders in Greek Mythology: An Analysis of Ancient Archetypes." Journal of Student Research 13, no. 1 (2024). http://dx.doi.org/10.47611/jsrhs.v13i1.6354.

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Mental disorders remain a stigmatized and seldom-discussed subject in contemporary society, where widespread misunderstanding and lack of awareness persist. The purpose of this research is to form archetypes of mental illnesses and symptoms to allow society to learn about and emphasize more easily with those who are diagnosed with them. It analyzes the behaviors and experiences of characters from Greek mythology and connects them to specific mental disorders in the present day. Texts such as the Odyssey and Metamorphoses were used to understand the actions of characters such as Narcissus, Odys

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20

Պետրոսյան, Արմեն. "Արգոնավորդներ. հնդեվրոպական առասպելը՝ որպես հայոց նախապատմության աղբյուր". Herald of Social Sciences, 27 січня 2023, 307–22. http://dx.doi.org/10.53548/0320-8117-2022.3-307.

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Այս առասպելում Այետես արքայի և նրա դուստր Մեդեայի կերպարները և անունները համեմատելի են հնդկական Յայատիի և նրա դուստր Մադհավիի և իռլանդական Էոխայդի և նրա դուստր Մեդբի առասպելների հետ, որոնք հնդեվրոպական համատեքստում մանրամասն ուսումնասիրել է Ժորժ Դյումեզիլը։ Այան՝ այն երկիրը, որտեղ նավարկում են արգոնավորդները, ակնհայտորեն առասպելական՝ կախարդական մի թագավորություն է, երանելի անդրաշխարհ, որը միայն հետագայում է նույնացվել Կոլխիդայի հետ: Հնագույն Կոլխիդան գտնվում էր հետագա Կոլխիդայի հարավ-արևմուտքում, այն տարածքներում, որտեղ մ.թ.ա. XIV-XIII դդ. եղել է խեթական աղբյուրների Հայասայի թագավորությունը։ Ա

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21

Frommolt, Karl-Heinz, and Martin Martin Carlé. "The Song of the Sirens." Nordic Journal of Aesthetics 24, no. 48 (2016). http://dx.doi.org/10.7146/nja.v24i48.23067.

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In Homer’s account of the adventurous journey of Odysseus, the song of the sirens was so appealing and tempting that it lured sailors to their deaths. Warned by the goddess Kirke, Odysseus overcame the trap by plugging his crew’s ears with wax. An archaeo-acoustical research expedition undertaken by members of Humboldt University Berlin made sound propagation experiments at the supposedly historical scene at the Galli Islands where it’s said that the sirens originally sung. At the site we broadcasted both synthetic signals and natural voices via loudspeakers in the direction Odysseus most prob

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22

Skoryna, Lyudmyla. "INTERTEXTUAL FIELD PARAMETERS IN THE NOVEL "ANDRII LAHOVSKYI" BY AHATANHEL KRYMSKYI." LITERARY PROCESS: methodology, names, trends, no. 20 (2022). http://dx.doi.org/10.28925/2412-2475.2022.20.9.

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The article outlines the intertextual field parameters in the novel "Andrii Lahovskyi" by Ahatanhel Krymskyi. In the process of research the active use of quotations and allusions by the writer was found out. Quotations are organically embedded in the speech of all characters, it is especially true of the main character (71 example found). The novel is dominated by quotations with partial attribution - indicating the author of the prototext (37 quotations) or the whole work (4 quotations). There are 6 quotations with full attribution, 4 quotations with “allusive” attribution and 10 quotations

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