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Journal articles on the topic 'Medea Myth'

Author: Grafiati

Published: 9 March 2023

Last updated: 19 July 2025

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1

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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2

Dikmonienė, Jovita, Maria Kristiina Lotman, and Līva Bodniece. "Antigones un Mēdejas ceļi Baltijas teātrī." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 16 (December 23, 2024): 10–26. https://doi.org/10.37384/sm.2024.16.010.

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The study compares the development of the reception of three ancient tragedies – Sophocles’ Antigone, Euripides’ Medea and Seneca’s Medea – in the Baltics. The article summarises the results of several previous studies on the reception of ancient tragedy in Latvia, Lithuania, and Estonia. A diachronic study provides an overview of the history of the translation and production of ancient tragedies in the Baltics. The study of the development of reception is complemented by a survey of translated and staged reception texts of the myth from later periods, focusing in greater detail on the most si

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3

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 wronge

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4

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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5

Friedrich, Michał. "„The bloodiest flower”. Myth of Medea According to Pier Paolo Pasolini." Tekstualia 1, no. 60 (2020): 83–92. http://dx.doi.org/10.5604/01.3001.0014.1364.

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The article discusses Pier Paolo Pasolini’s reinterpretation of the myth of Medea in his 1969 fi lm by placing it in a range of artistic contexts, primarily painting. It fi rst recounts the history of mythological sorceress from ancient Kolchida, known from Greek myths and Eurypides’s play. A number of artistic works dedicated to Medea are referred to, including Seneca’s tragedy, Lars von Trier’s movie, Christa Wolf’s novel, Victor Mottez’s and Thomas Satterwhite Noble’s paintings. The methodological framework is based on the work of critics such as Alicja Helman, Kinga Anna Gajda, Piotr Kleto

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6

Sigua, Lika. "A MODERN DECONSTRUCTION OF THE ANCIENT MYTH OF MEDEA IN THE CREATIVITY OF GEORGIAN WRITERS (LASHA BUGHADZE "АНТИМЕДИЯ", PAATA TSIKOLIA'S "МЕДЕА S01E06")". European Journal of Learning on History and Social Sciences 1, № 10 (2024): 16–25. https://doi.org/10.61796/ejlhss.v1i10.979.

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This paper explores the modern reinterpretation of the ancient myth of Medea, as presented by Georgian writers Lasha Bughadze and Paata Tsikolia. Despite the myth's ancient origins, its relevance persists in contemporary literature, where it reflects ongoing societal and existential conflicts. A knowledge gap exists in understanding how modern adaptations, particularly in Georgian literary contexts, reinterpret Medea's narrative using postmodern techniques. This study employs a comparative literary analysis method, examining plays like Bughadze's "Antimedea" and Tsikolia's "Медеа s01e06." Find

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7

Oster, Angela. "Moderne Mythographien und die Krise der Zivilisation." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, no. 2 (2006): 79–108. http://dx.doi.org/10.28937/1000107604.

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Im Verlauf seiner Rezeption hat der Medea-Mythos kontinuierlich einen wichtigen Stellenwert in der Reflexion des zivilisatorischen Krisenbewußtseins eingenommen. Dieser Prozeß kulminiert in der Moderne, innerhalb derer die Medea-Version von Pier Paolo Pasolini einen exzeptionellen Stellenwert einnimmt. Pasolinis umsichtige und vielschichtige Cinematopoetik kombiniert den antiken Mythos mit religionswissenschaftlichen Quellen und enttarnt dabei den Begriff des gesellschaftlich ›Natürlichen‹ als ideologische Setzung. Der Ideologie des vorgeblich Natürlichen setzt die pasolinische Medea eine ethn

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8

Ascher, Leona, James J. Clauss, and Sarah Iles Johnston. "Medea: Essays on Medea in Myth, Literature, Philosophy, and Art." Classical World 92, no. 1 (1998): 78. http://dx.doi.org/10.2307/4352219.

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9

Plecas, Tamara, and Ana Djordjevic. "Medea: Greek myth and peculiar identity." Bulletin de l'Institut etnographique 71, no. 1 (2023): 45–62. http://dx.doi.org/10.2298/gei2301045p.

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This paper will primarily focus on the philosophical depictions of Medea?s character and actions. The following identities will be examined: gender (which roles defined a woman in antiquity and are these definitions still relevant today), political (what does it mean to be a foreigner and not belong to a particular political community), and psychological (do passions inevitably lead to a split in the psyche or, on the contrary, constitute it). These will serve as frames that outline Medea?s exceptional (in)humanness in the Greco-Roman society.

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10

მეტრეველი, ლილი. "მედეას მითის თანამედროვე ლიტერატურული ინტერპრეტაციები მარგინალიზაციიდან დომინაციამდე (კრისტა ვოლფის რომანი: „მედეა – ხმები“ და ნინო ხარატიშვილის პიესა „ჩემი და შენი გული [მედეა]“)". Literary Researches 44 (27 листопада 2024): 315–24. https://doi.org/10.62119/lr.44.2024.8244.

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The article presents modern interpretations of the Medea myth based on Nino Kharatishvili's play "My Heart [Medea]" and Christa Wolf's novel "Medea-Voices". In particular, using a comparative analysis, it is discussed how different passages or motifs of the Medea myth change within the framework of two different texts and, accordingly, how Medea's identity is constructed/formed. In the position of the male characters of both novels (Creon, Jason, Acama), we can examine the masculine perspective, according to which, the woman was primarily understood as a being obedient to the will of the ma

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11

Kobakhidze, Ekaterine. "Metaia." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 16, no. 1 (2021): 54–87. http://dx.doi.org/10.25205/1995-4328-2022-16-1-54-87.

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It could be said with some precision, that in Antiquity the myth of the Argonauts and especially of Medea herself as a personage of this myth, has enjoyed popularity not only in Greece but also outside its territories. The first among the Italic tribes to be introduced to the personage of Medea no doubt were the Etruscans, who were the first to establish intensive contacts with the Greeks from Euboea founding a colony in Cumae, Italy. It is noteworthy that the first image of Medea in the World Art is seen on Etruscan ceramics. The paper gives detailed analyses of Etruscan olpe and other artefa

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12

Baldwin, Oliver. "Medea is a Good Boy: performing, subverting, and unmasking tragic gender." Classical Receptions Journal 12, no. 4 (2020): 486–501. http://dx.doi.org/10.1093/crj/claa012.

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Abstract In 1981, the Spanish playwright Luis Riaza published the play Medea es un buen chico (Medea is a Good Boy). In it, two male actors perform the main roles of Medea and the Nurse, who comment, with references to other fictional love stories, on the relationship between Medea and Jason. When Jason fails to arrive, the fiction is dismantled, revealing Medea’s identity as Jason’s rejected homosexual lover. Medea es un buen chico mixes elements of performativity, meta-theatricality, and myth in order to explore the limits of gender, sexuality, and the perceived social roles and norms they e

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13

Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.v29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African pre

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14

Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African pre

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15

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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16

Makeeva, Vladislava Igorevna. "Corinthian cult of Medea's children." Человек и культура, no. 4 (April 2021): 134–42. http://dx.doi.org/10.25136/2409-8744.2021.4.36407.

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The myth of Medea and her children is commonly known as the story of the mother who kills her own children for the sake of vengeance to her husband. Most often, she is remembered from the eponymous tragedy of Euripides. However, different authors can describe other circumstances of the demise of children. In these variations of the story, Medea does not kill the children, but becomes the cause of their demise, trying to prevent them from it. According to one of the versions, she tries to make them immortal, but her attempts fail. Although, as a matter of fact the children of Medea acquire immo

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17

Spinosa, Dani. "‘Antigone’, ‘Medea’, ‘Ariadne’, ‘Semele’ and ‘Jocasta’." Explorations in Media Ecology 20, no. 2 (2021): 213–19. http://dx.doi.org/10.1386/eme_00085_1.

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These pieces are from my porn myth series: ‘Antigone’, ‘Hestia’ and ‘Medea’ were first published in a pamphlet from Happy Monks Press, and ‘Ariadne’ and ‘Semele’ were created for the Concrete Is Porous second gallery show.

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18

Tyminski, Robert. "The Medea Complex—Myth and Modern Manifestation." Jung Journal 8, no. 1 (2014): 28–40. http://dx.doi.org/10.1080/19342039.2014.866032.

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19

Gessert, Genevieve. "Myth as Consolatio: Medea on Roman Sarcophagi." Greece and Rome 51, no. 2 (2004): 217–49. http://dx.doi.org/10.1093/gr/51.2.217.

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20

Lee, Sangduk. "Technology Through Myth: Medea, Pandora, and Pygmalion." Journal of Western History 69 (November 30, 2023): 199–216. http://dx.doi.org/10.16894/jowh.69.7.

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21

Beigui, Alex. "Medea: myth itinerances in different enunciative contexts." AVANCA | CINEMA, no. 14 (January 5, 2024): 71–76. http://dx.doi.org/10.37390/avancacinema.2023.a477.

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22

Cassidy, Sarah. "WEDDING IMAGERY IN THE TALOS EPISODE: APOLLONIUS RHODIUS,ARGONAVTICA4.1653–88." Classical Quarterly 68, no. 2 (2018): 442–57. http://dx.doi.org/10.1017/s0009838818000575.

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AtArgon.4.1653–88, Medea steps forward among the Argonauts and asserts that their harbourage on Crete will not be blocked by the bronze giant Talos, who stands menacingly throwing rocks at their ship. She claims that she alone can subdue him, and then steps forward and proceeds to do so. Using a sequence of ‘magical’ ritualistic acts, she causes Talos to scrape his vulnerable heel on a rock and fall down dead, as the ichor pours from his wound. This scene is the last in which Medea appears in the epic, and accordingly it forms the final opportunity to bridge the gap between the Medea of theArg

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23

Fresneda Delgado, Iratxe. "La Medea de Lars von Trier." Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 55–75. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5909.

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El presente artículo analiza el modo en el que Lars von Trier recrea para el cine el estereotipo de Medea. Mediante el análisis fílmico de la película y apoyándose en los estudios culturales, el texto se interroga acerca de la importancia y el poder potencial del cine a la hora recuperar el antiguo mito y demostrar su vigencia. El análisis amplía horizontes para la compresión de los mecanismos que articulan el entramado de significados de la película, donde Von Trier aporta una nueva visión del arquetipo de Medea uniéndola, a la tradición pictórica del Romanticismo. Una influencia que habita e

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24

Konstantinou, Ariadne. "TRADITION AND INNOVATION IN GREEK TRAGEDY'S MYTHOLOGICAL EXEMPLA." Classical Quarterly 65, no. 2 (2015): 476–88. http://dx.doi.org/10.1017/s0009838815000270.

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Novelties introduced into traditional myths are an essential characteristic of Greek tragedy. Each and every play demonstrates, in different ways, how tragedians were versatile and innovative in handling mythic material. Modern prefaces to individual tragedies often discuss the possible innovations in the dramatization of a myth compared to previous or subsequent versions. Innovations advanced in a play sometimes became so familiar that they came to be regarded as ‘standard’. Such examples include the condemnation and death of the protagonist in Sophocles’ Antigone and, in all likelihood, Mede

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25

Kosmopoulou, Despina. "From the Small Village Community to the Inaccessible Land of Postmodernism: Papadiamanti’s The Murderess and H. Müller’s Medea Material." CONCEPT 29, no. 2 (2025): 17–30. https://doi.org/10.37130/z9rbaq62.

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Medea follows a dangerous and destructive course, accompanied by the element of death and horror. She kills her brother and children for Jason’s love. She has been described as having commited infanticide, a brutal murderess, rebellious and mentally disturbed. Her personality is scary as well as fascinating. She travels through the centuries and meets important creators who retell her story from their own perspective. Centuries later, Alexandros Papadiamantis would write about his own murderess, infanticide and psychologically unstable woman, Hadoula Fragogiannou, who, living in unbearable opp

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26

Campbell, Peter A. "Medea as Material: Heiner Müller, Myth, and Text." Modern Drama 51, no. 1 (2008): 84–103. http://dx.doi.org/10.3138/md.51.1.84.

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27

Wilczynski, Ania. "Murderous Mothers and the Medea Myth: A Commentary on ‘Medea: Perspectives on a Multicide’." Australian Journal of Forensic Sciences 27, no. 1 (1995): 6–12. http://dx.doi.org/10.1080/00450619509411318.

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28

Villalba-Lázaro, Marta. "After Euripides: Esotericism in Medea’s English Literary Tradition." Athens Journal of Humanities & Arts 10, no. 1 (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 th

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29

Grajter, Małgorzata. "The Role of Music in the Reinterpretations of the Mythical Story of Medea in the Light of Translation Theory." Roczniki Humanistyczne 72, no. 12 Zeszyt specjalny (2024): 109–18. http://dx.doi.org/10.18290/rh247212sp.9.

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While myth and translation are two different phenomena, their polyversional character and the ways of their dissemination make it possible to establish a common ground between them. According to Edward Balcerzan, the main difference between an original artistic text and translation is that the original is intended as a finished work of art, while translation is inherently a multiple and renewable process—a quality shared with an artistic reinterpretation of myth, which, in turn, might also involve translating the content across semiotic systems. This article discusses the role of music in the

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30

Sifaki, Kleanthi. "A Case of Reception of the Ancient Greek Medea of Euripides: When Medea of Euripides Meets Medea of Anouilh and of Bostantzoglou." CONCEPT 29, no. 2 (2025): 73–83. https://doi.org/10.37130/cqsp0064.

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The Archetype of Medea has been thoroughly examined and Medea has been identified as a symbol of darkness, vengeance and ferocity. Meticulous analysis of Euripides’ Medea reveals a multi-dimensional personality, a divine creature, skillful, alluring and human in her essence. The article aims to examine how Euripides’ character and speech were perceived by playwrights Jean Anouilh and Mentis Bostantzoglou (better known under the pen name of Bost). All three pieces of literature discuss the eternal themes of love, vengeance, motherhood, betrayal and moral ethics. Euripides, Anouilh and Bost show

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31

Vangölü, Yeliz Biber. "Still Expressing the Need for the Rational: Edward Bond’s Dea." TDR/The Drama Review 61, no. 3 (2017): 173–77. http://dx.doi.org/10.1162/dram_a_00680.

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Edward Bond’s latest play, Dea, depicts numerous scenes of sex and violence, dramatizing a catastrophic view of the world and questioning the boundaries of madness and moral integrity. Revisiting the Medea myth, the play calls attention to our callousness in the face of the innumerable acts of violence in our contemporary world.

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32

Russo, Paolo. "Visions of Medea: Musico-dramatic transformations of a myth." Cambridge Opera Journal 6, no. 2 (1994): 113–24. http://dx.doi.org/10.1017/s0954586700004201.

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On 13 March 1797, Cherubini's Médée was given its première at the Théâtre Feydeau in Paris. The opera was designed to be a tragédie lyrique with all the trappings: only the hostility directed towards young composers (Cherubini, but also Méhul and Le Sueur) during the Terror and the Directory had prevented its performance at the city's first theatre, the Académie Royale de Musique (briefly re-christened the Théâtre de la République et des Arts after the Revolution). Although Cherubini's opera followed the conventions of opéra comique (most important, of course, the use of spoken dialogue), it a

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Holland, Lora Louise. "[Pas domos erroi]: Myth and Plot in Euripides' Medea." Transactions of the American Philological Association 133, no. 2 (2003): 255–79. http://dx.doi.org/10.1353/apa.2003.0019.

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34

Hagman, George. "Medea: Myth and Unconscious Fantasy. Edited by Esa Roos." Psychoanalytic Quarterly 85, no. 3 (2016): 818–25. http://dx.doi.org/10.1002/psaq.12097.

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35

Louden, Bruce. "Iliad 11: Healing, Healers, Nestor, and Medea." Yearbook of Ancient Greek Epic Online 2, no. 1 (2018): 151–64. http://dx.doi.org/10.1163/24688487-00201005.

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Abstract Iliad 11’s series of wounded Greek chiefs sends the doomed Patroklos to Nestor’s tent, where Heka-mede has just given Neleus’s son and the wounded healer Makhaon a restorative potion and shortly afterward will give Makhaon a bath. Nestor delivers a lengthy account, a Pylian epic, which briefly mentions Aga-mede, who knows all the pharmaka the earth grows. Together these details suggest two meanings for Nestor’s surprising longevity. Within the Iliad it serves as a vector to pre-Homeric epic but also alludes to Medea’s rejuvenation of Aison and to related episodes in her larger myth.

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36

Williams, Jaye Austin. "Medea’s (Black) Cast:." Pacific Coast Philology 56, no. 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 imp

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37

Villalba-Lázaro, Marta. "Fragmenting the Myth: Augusta Webster’s “Medea in Athens” and the Victorian Female Struggle." ES Review. Spanish Journal of English Studies, no. 43 (November 23, 2022): 39–62. http://dx.doi.org/10.24197/ersjes.43.2022.39-62.

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Augusta Webster’s poem “Medea in Athens” offers a dramatic interpretation of Medea’s psychological responses to Jason’s death. Using the technique of broken dramatic monologue, this poem allows the poet to offer a personal vision of a Medea in contention with her repressed emotions. Whilst the poem has been much studied by feminist scholars as a remarkable example of the struggle of the New Woman in Victorian England, this paper highlights the role played by the voice of Jason’s ghost that represents Medea’s unconscious, and that despite her desperate attempts reveals a strong patriarchal imag

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38

Sigrid, Schottenius Cullhed. "Procne in Toni Morrison's Beloved." Classical Receptions Journal 14, no. 1 (2022): 89–103. https://doi.org/10.1093/crj/clab002.

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Sethe Suggs, the protagonist in Toni Morrison’s novel Beloved, is often compared to Medea. The same analogy with the Colchian princess was often made by contemporaries in relation to Margaret Garner, the historical person on whose life the novel is loosely based. An enslaved African-American woman in the mid-nineteenth century, Garner killed her own daughter after being found by her former owner and was styled a ‘Modern Medea’ in the press. Despite Morrison’s dislike of the comparison as well as its obvious asymmetries, it has become so prominent in recent scholarship o

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39

Rogowski, Christian. "The Myth of Medea and the Murder of Children (review)." Comparative Literature Studies 37, no. 3 (2000): 361–64. http://dx.doi.org/10.1353/cls.2000.0030.

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40

Björklind, Charlotta. "Medea: Myth and unconscious fantasy, revised edition, edited by Esa Roos." International Journal of Psychoanalysis 100, no. 2 (2019): 405–8. http://dx.doi.org/10.1080/00207578.2019.1576527.

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41

Sirola, Riitta. "The myth of Medea from the point of view of psychoanalysis." Scandinavian Psychoanalytic Review 27, no. 2 (2004): 94–104. http://dx.doi.org/10.1080/01062301.2004.10592947.

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Marfouq, Assia, and Abdelghani Brija. "MEDEA OR MURDEROUS MATERNITY IN LA VOYEUSE INTERDITE BY N. BOURAOUI AND FRITNA BY G. HALIMI. A PSYCHOANALYTIC READING." Folia linguistica et litteraria XIII, no. 45 (2023): 293–313. http://dx.doi.org/10.31902/fll.45.2023.17.

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The murderous and destructive dimension in the acts of mothers in our corpus invites us to relate to the myth of Medea, the real place of the most tragic fantasies. The drama of Medea made it possible to build a “medeic structure” (Alain Depaulis, 2015) which today constitutes the foundation of any psychoanalytical and criminological analysis of maternal infanticide. In the novels under study, mothers' blaming of daughters and their responsibility for misfortune leads to self-harming behavior on the part of daughters. The castration in mothers in the three works under study leads to murderous

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Davis, P. J. "‘A Simple Girl’? Medea in Ovid Heroides 12." Ramus 41, no. 1-2 (2012): 33–48. http://dx.doi.org/10.1017/s0048671x00000242.

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For Homer's Circe the story of Argo's voyage was already well known. Although we cannot be sure that the Odyssey's first audience was aware of Medea's role in Jason's story, we do know that by the time that Ovid came to write Heroides, she had already appeared in numerous Greek and Latin texts, in epic and lyric poetry and on the tragic stage. Given her complex textual and dramatic history, it seems hardly likely that any Ovidian Medea could actually be ‘a simple girl'. And yet precisely this charge of ‘simplicity’ has been levelled against Heroides 12 and its Active author. I propose to argue

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Caldas, Thais Evangelista de Assis. "Os Argonautas, de Apolônio de Rodes, e a tradição literária." CODEX – Revista de Estudos Clássicos 1, no. 2 (2009): 85. http://dx.doi.org/10.25187/codex.v1i2.2836.

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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>O objetivo deste artigo é investigar a tradição poética da Grécia que diz respeito ao mito de Jasão e Medeia. Assim, será analisado o jogo intertextual entre a epopeia alexandrina – representada pela obra <em>Os Argonautas</em>, de Apolônio de Rodes – e as poesias homérica, hesiódica e pindárica e também a tragédia euripidiana Medeia e os idílios XIII e XXII de Teócrito.</span></p><p><span><br /></span></p><p><strong&

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Jassim, Jinan Waheed. "Medea Revisited: Marina Carr's By the Bog of Cats… and the Modern Defiant Mother." لارك 3, no. 34 (2019): 447–57. http://dx.doi.org/10.31185/lark.vol3.iss34.1103.

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Abstract;Marina Carr, one of the prominent Irish feminist playwrights, deviates from the mainstream patriarchal portrayal of women in her modern plays. She moves away from the stereotypical image of Irish mother as an emblem of the nation and the land, hence, seen as a selfless, loving, sacrificing woman who identifies herself with the motherhood. Instead Carr introduces broken, maltreated, and defiant women to the modern Irish stage. Her adaptation of the myth of Medea for her play By the Bog of Cats…is considered as a challenge to the classical Greek and Irish drama. Both Medea and Hester Sw

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Reitzammer, Laurialan. "Re-Imagining Euripides’ Medea : Pre-Colonial Indigenous Elements in Alfaro’s Mojada." American Journal of Philology 144, no. 3 (2023): 473–501. http://dx.doi.org/10.1353/ajp.2023.a922570.

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Abstract: This essay examines pre-colonial Mesoamerican elements in Luis Alfaro’s Mojada , highlighting significant differences between the recently published script of the play and a version produced at the Public Theater in New York City, which I attended in summer 2019, to argue that the Public Theater production questions whether Indigenous myth and ritual can persist and function effectively in the United States in the face of the brutal and dehumanizing forces of capitalism and racism. This essay contributes to discussions of the ways in which theatrical representations of Indigeneity fu

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Choi, Jongsul. "For Tolerance - On the Restructuring of the Cultural Confrontation of the Myth of Medea in Ulitskaya’s Medea and Her Children." Hankuk University of Foreign Studies Literature Studies 93 (February 29, 2024): 41–63. http://dx.doi.org/10.22344/fls.2024.93.41.

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Richardson, Edmund. "‘A Conjugal Lesson’: Robert Brough's Medea and the Discourses of Mid-Victorian Britain." Ramus 32, no. 1 (2003): 57–83. http://dx.doi.org/10.1017/s0048671x00001296.

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The Athenian Captive (1838) was to constitute the last significant use of Greek tragedy on the professional stage in Britain for a radical political purpose until Gilbert Murray's stagings of Euripides in the Edwardian era.Edith HallI believe in the Revolution.Robert Brough, 1855The fiercest political debates in 1850s Britain were inextricably bound up with the Classical past. Traditionalists and eulogists, priests and pamphleteers, doctors and revolutionaries all set their arguments and their ideals within a Classical framework. Amongst those who sought to use the ancient for decidedly contem

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Franklinos, T. E. "THE CAUSE OF IDMON'S DEATH AT SENECA, MEDEA 652–3 AND AT VALERIUS FLACCUS 5.2–3." Classical Quarterly 70, no. 1 (2020): 268–75. http://dx.doi.org/10.1017/s0009838820000300.

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‘The tale of the Argonauts was among the most popular myths in Greek and Roman literature of all periods.’ There was, however, not inconsiderable variation in certain aspects of the narrative: in the inclusion or exclusion of entire episodes; in (un)expected divergences from more authoritative versions of the story; and in the details of minutiae. In the Argonautic choral odes of Seneca's Medea (301–79 and 579–669), and in Valerius Flaccus’ incomplete epic, there is a conspicuous, learned engagement with much of the earlier tradition that hints at versions of the myth which are divergent from

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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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