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Journal articles on the topic 'Medea'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Bravo, Francisco, and Laguna Romero. "De hechiceras, indígenas, capitanes y criollos: Otras reescrituras de Medea en el teatro argentino." Latin American Theatre Review 58, no. 1 (2024): 101–14. https://doi.org/10.1353/ltr.2024.a949370.

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Abstract: This essay analizes the presence and re-working of Medea in Argentine theatre as an exercise in feminine, indigenous, and social resistence. In the context of la argentinidad , these Medeas are situated as protagonists during periods of conquest, ethnic and cultural confrontations, and socio-political debates regarding identity. The author of this study focuses on four specific works— La Navarro by Alberto Drago, Medea de Moquehuá by Luis María Salvaneschi, La hechicera by José Luis Alves¸ and Medea del Paraná by Suellen Worstell de Dornbrook—drawing upon the classical tragedies of o

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2

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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3

Walsh, Lisl. "The Metamorphoses of Seneca's Medea." Ramus 41, no. 1-2 (2012): 71–93. http://dx.doi.org/10.1017/s0048671x00000266.

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Seneca's Medea is not a rewriting of Euripides' character. At least, Seneca's Medea shares more similarities with Ovidian Medeas (the extant ones, at any rate) than the Euripidean Medea. Rather than focusing on Seneca's departures from the tragic legacy of Euripides (however important they are for an informed reading of the play), I would like to focus on Seneca's Medea as a potentially Ovidian character. Specifically, I would like to posit that the Senecan Medea reads more like a dramatisation of Medea's experience within the ellipsed Corinthian episode of Ovid's Metamorphoses (7.394-97). Sen

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4

Budzowska, Malgorzata. "Medea w tradycji przedeurypidejskiej." Collectanea Philologica 8 (January 1, 2004): 73–82. http://dx.doi.org/10.18778/1733-0319.08.05.

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Materia dissertationis nostrae sunt fabulae et opera sriptorum Gracorum ante Euripidem, quae ad personam Medeam perinent. Implicandum fabulas cum rebus gestis nationis Minyadum, qui Argonautae putantur, signatur. Primum tamen mutatio aspectus Medeas in litteris Graecis notatur.

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5

Ackah, Kofi. "Euripidesâ€™ Medea and Jason: A Study in the Social Power of Love." Phronimon 18 (August 31, 2017): 31–47. http://dx.doi.org/10.25159/2413-3086/1956.

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Euripidesâ€™Â MedeaÂ resonates with modern issues in intimate relationships. However, little has been written on this, especially from the social-psychological perspective. This paper explores the breakdown of the Jason-Medea marriage in terms of the social-psychological theory of love as an exchange in a power game in which a certain degree of imbalance in the exchange could account for such a breakdown. I analyse theÂ MedeaÂ text in terms of Olson and Cromwellâ€™s (1975) tripartite theoretical framework, namely: (a) theÂ basesÂ on which social power is built; (b) theÂ processesÂ by which soc

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6

Malamud, Martha. "Double, Double: Two African Medeas." Ramus 41, no. 1-2 (2012): 161–89. http://dx.doi.org/10.1017/s0048671x00000308.

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When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Medea. Both were products of the flourishing, experimental, literary culture of Roman Africa that produced such writers as Apuleius, Tertullian, Augusti

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7

Hooper, Corey. "Medea." Psychological Perspectives 64, no. 2 (2021): 211–21. http://dx.doi.org/10.1080/00332925.2021.1959218.

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8

Frank, Glenda, and Euripides. "Medea." Theatre Journal 39, no. 2 (1987): 237. http://dx.doi.org/10.2307/3207695.

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9

Carlson, Marvin, and Heiner Muller. "Medea." Theatre Journal 43, no. 1 (1991): 118. http://dx.doi.org/10.2307/3207957.

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10

Thomas, Alfred, and Euripides. "Medea." Theatre Journal 40, no. 3 (1988): 411. http://dx.doi.org/10.2307/3208333.

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11

Hoffman, N. M., Euripides, and Alistair Elliot. "Medea." Theatre Journal 47, no. 1 (1995): 149. http://dx.doi.org/10.2307/3208820.

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12

Case, Sue-Ellen, and Euripides. "Medea." Theatre Journal 45, no. 2 (1993): 246. http://dx.doi.org/10.2307/3208931.

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13

Ah-See, Kim. "Medea." British Journal of General Practice 62, no. 604 (2012): 601.1–601. http://dx.doi.org/10.3399/bjgp12x658412.

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14

Miller, D. A. "MEDEA." Film Quarterly 65, no. 4 (2012): 12–16. http://dx.doi.org/10.1525/fq.2012.65.4.12.

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15

Boedeker, Deborah. "MEDEA." Classical Review 54, no. 1 (2004): 34–36. http://dx.doi.org/10.1093/cr/54.1.34.

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16

Wisotzkey, R. G., A. Mehra, D. J. Sutherland, et al. "Medea is a Drosophila Smad4 homolog that is differentially required to potentiate DPP responses." Development 125, no. 8 (1998): 1433–45. http://dx.doi.org/10.1242/dev.125.8.1433.

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Mothers against dpp (Mad) mediates Decapentaplegic (DPP) signaling throughout Drosophila development. Here we demonstrate that Medea encodes a MAD-related protein that functions in DPP signaling. MEDEA is most similar to mammalian Smad4 and forms heteromeric complexes with MAD. Like dpp, Medea is essential for embryonic dorsal/ventral patterning. However, Mad is essential in the germline for oogenesis whereas Medea is dispensable. In the wing primordium, loss of Medea most severely affects regions receiving low DPP signal. MEDEA is localized in the cytoplasm, is not regulated by phosphorylatio

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17

Kim,Yong-Min. "Transformation des Medea-Mythos - Medea von Euripides." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 48 (2010): 165–85. http://dx.doi.org/10.30947/zfdsl.2010..48.165.

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18

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

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Recent investigations of Seneca's Medea have found consistently fascinating the way in which Medea progressively flags her realization of enacted identity and selfhood. She self-consciously pierces the fabric of her drama with identifying declarations, colored by especial reference to her name: the announcement Medea superest (‘Medea remains’, 166) and bald statement of fiam (‘I will be’, 171) in response to hearing her own name lead to the supreme utterance of Medea nunc sum (‘now I am Medea’, 910). Medea conjures herself into being with these three identifications, stepping fully into the tr

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19

Hudson, J. B., S. D. Podos, K. Keith, S. L. Simpson, and E. L. Ferguson. "The Drosophila Medea gene is required downstream of dpp and encodes a functional homolog of human Smad4." Development 125, no. 8 (1998): 1407–20. http://dx.doi.org/10.1242/dev.125.8.1407.

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The Transforming Growth Factor-beta superfamily member decapentaplegic (dpp) acts as an extracellular morphogen to pattern the embryonic ectoderm of the Drosophila embryo. To identify components of the dpp signaling pathway, we screened for mutations that act as dominant maternal enhancers of a weak allele of the dpp target gene zerknLllt. In this screen, we recovered new alleles of the Mothers against dpp (Mad) and Medea genes. Phenotypic analysis of the new Medea mutations indicates that Medea, like Mad, is required for both embryonic and imaginal disc patterning. Genetic analysis suggests t

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20

Santos Filho, Andrelino Ferreira dos. "NUANÇAS DA PAIXÃO NA MEDEIA DE EURÍPIDES." Sapere Aude 10, no. 19 (2019): 10–19. http://dx.doi.org/10.5752/p.2177-6342.2019v10n19p10-19.

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A Medeia de Eurípides é uma das mais importantes peças do teatro antigo. A complexidade do texto e a fertilidade das possibilidades interpretativas tem despertado grande interesse dos estudiosos. Neste artigo, pretendo analisar algumas noções que compõem o núcleo do irracional tipificado na protagonista (Medeia). Trata-se de demonstrar a insuficiência do emprego do termo pathos para qualificar o comportamento da personagem no drama. O problema consiste nas parcas ocorrências do referido vocábulo para sustentar o sentido do que seja agir pelo irracional. A fim de ampliar a compreensão do que re

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21

Heller, Jonas. "Medea’s Violence: Apathy as a Politics of Withdrawal." New German Critique 51, no. 3 (2024): 193–215. http://dx.doi.org/10.1215/0094033x-11309249.

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This article explores the political implications of the figure of Medea by analyzing the affinity between violence and nonviolence in her actions. A new reading of two versions of the mythical material—the apparently violent Medea in Euripides’s tragedy, and the apparently nonviolent Medea in Christa Wolf’s novel, Medea: Stimmen—shows that her actions, which have no means at their disposal, are effective in that they exercise a form of active apathy: Medea acts by withdrawing from the effects of the patriarchal order, especially in her refusal of the affects that are expected from her. This in

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22

Boyle, A. J. "Introduction: Medea in Greece and Rome." Ramus 41, no. 1-2 (2012): 1–32. http://dx.doi.org/10.1017/s0048671x00000230.

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Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the complexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, displaced traitor to family and state, helper-maiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister,

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23

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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24

Paixão Bresio, Sabrina. "(In)vocação Medeia na Améfrica: dramaturgias Ladinas e transfigurações míticas." Revista del CESLA: International Latin American Studies Review, no. 34 (December 31, 2024): 87–106. https://doi.org/10.36551/2081-1160.2024.34.87-106.

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O ensaio propõe uma investigação mitopoética sobre a figura de Medeia e sua reconstituição em obras dramatúrgicas contemporâneas. Partindo da articulação conceitual de Améfrica Ladina proposta pela filósofa Lélia Gonzales, o presente trabalho tece uma leitura sobre as recomposições que a personagem Medeia toma em território latino-americano, com destaque às produções brasileiras nas quais a recriação de Medeia por autorias/performances negras inspira outras fabulações e amplifica o rol imagético presente no mito. A partir da lógica dos corpos subalternizados, que tomam a narrativa e reescrevem

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25

Zidaric, Walter. "Dal Teatro di Euripide Al Cinema di Pasolini: La Mise en Abyme Del Mito di Medea." Revista de Italianística, no. 19-20 (December 30, 2010): 195. http://dx.doi.org/10.11606/issn.2238-8281.v0i19-20p195-209.

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Il mito di Medea continua a affascinare l’umanità, fin dall’antichità, soprattutto nella versione di Euripide. Si commentano composizioni artistiche che riprendono im mito di Medea e si analizza, in particolare, il rapporto Medea, Callas, Pasolini.

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26

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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27

Shama, Mahbuba Sarker. "Jason and Medea’s Relationship in Medea:." Crossings: A Journal of English Studies 8 (August 1, 2017): 173–78. http://dx.doi.org/10.59817/cjes.v8i.142.

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Medea in Euripides’ Medea murders her two sons to take revenge on her husband Jason who has married the Corinthian princess Glauce for royal power. However, little attention has been paid towards the cause behind the killing of her sons. This paper will examine the marital relationship between Medea and Jason from the perspective of the colonizer and the colonized and it will show Medea as the victim colonized who kills her brother and leaves her native land Colchis to marry Jason. Jason is presented as the oppressor colonizer who betrays Medea without whom he could have never achieved the Gol

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28

Cropp, Martin, and Donald J. Mastronarde. "Euripides: "Medea"." Phoenix 58, no. 3/4 (2004): 362. http://dx.doi.org/10.2307/4135179.

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29

Clack, Jerry, Seneca, Frederick Ahl, et al. "Seneca: Medea." Classical World 82, no. 1 (1988): 66. http://dx.doi.org/10.2307/4350289.

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30

Hansen, Hardy, and Donald J. Mastronarde. "Euripides: "Medea"." Classical World 97, no. 4 (2004): 454. http://dx.doi.org/10.2307/4352887.

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31

Torrance, Isabelle, D. Egan, and D. Egan. "Euripides: Medea." Classics Ireland 13 (2006): 97. http://dx.doi.org/10.2307/25528451.

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32

Diamond, Elin. "Medea (review)." Theatre Journal 55, no. 1 (2003): 135–36. http://dx.doi.org/10.1353/tj.2003.0016.

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33

Smith, Kate. "Medea embodied." Women: A Cultural Review 6, no. 3 (1995): 304–20. http://dx.doi.org/10.1080/09574049508578248.

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34

Rabinowitz, Nancy Sorkin. "Male Medea." Helios 38, no. 2 (2011): 149–64. http://dx.doi.org/10.1353/hel.2011.0008.

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35

Anan, Nobuko. "Medea (review)." Asian Theatre Journal 23, no. 2 (2006): 407–11. http://dx.doi.org/10.1353/atj.2006.0014.

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36

Reeson, J. E. "Medea Writes." Classical Review 49, no. 1 (1999): 53–55. http://dx.doi.org/10.1093/cr/49.1.53.

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37

Costa, C. D. N. "SENECA’S MEDEA." Classical Review 52, no. 1 (2002): 20–21. http://dx.doi.org/10.1093/cr/52.1.20.

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38

David B. Hollander. "Medea (review)." Magic, Ritual, and Witchcraft 2, no. 1 (2008): 93–95. http://dx.doi.org/10.1353/mrw.0.0085.

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39

Gellrich, Michelle. "Medea Hypokrites." Arethusa 35, no. 2 (2002): 315–37. http://dx.doi.org/10.1353/are.2002.0021.

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40

Hulse, Peter. "MEDEA AIΔHΛOΣ?" Mnemosyne 73, № 2 (2020): 321–26. http://dx.doi.org/10.1163/1568525x-12342740.

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41

Dux, Felix. "Malevolent Medea." New Scientist 203, no. 2717 (2009): 26. http://dx.doi.org/10.1016/s0262-4079(09)61896-0.

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42

Grawe, Christian, and Christa Wolf. "Medea: Stimmen." World Literature Today 71, no. 1 (1997): 142. http://dx.doi.org/10.2307/40152644.

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43

Homan, Sidney. "Butoh Medea." American Book Review 39, no. 6 (2018): 6. http://dx.doi.org/10.1353/abr.2018.0087.

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44

Waite, Angelica. "Introducing Medea." Framework: The Journal of Cinema and Media 64, no. 1 (2023): 77–82. http://dx.doi.org/10.1353/frm.2023.a914988.

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45

Rabinowitz, Nancy Sorkin. "The Medea Project for Incarcerated Women: Liberating Medea." Syllecta Classica 19, no. 1 (2008): 237–54. http://dx.doi.org/10.1353/syl.2008.0003.

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46

Coxon, Caitlin. "Porous Boundaries Between the Witch Medea and the Fairy Mistress Melusine in Middle English Romance." Recherches anglaises et nord-américaines 59 (2025): 13–28. https://doi.org/10.4000/148cx.

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In this article, I examine John Gower’s use of conventions of popular Middle English romance to retell the Medea and Jason narrative in the Confessio Amantis (c. 1386-90). Gower’s version of Medea is often regarded as unusually sympathetic, as he portrays her as a loving wife and, rather than censoring her magical abilities, he explores her power and craft in more detail than do other late Middle English authors. I argue that Gower’s sympathetic portrayal of Medea in the Confessio is facilitated because he reframes the classical Medea to position her as a very specific type of romance heroine:

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47

mohammed, boutaibi. "System Of Government And Administration In Medea During The Colonial Period 1840-1940." madarat tarikhia review 1, no. 1 (2019): 128–56. https://doi.org/10.5281/zenodo.4432741.

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The period of the French occupation in Medea is one of the historical episodes of the region, lost in the Arabic literature, so we tried to write the history of Medea during the colonial period by addressing an important aspect of the French policy in Medea.

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48

Gadberry, Glen W. "The Black Medeas of Weimar and Nazi Berlin: Jahnn-Straub and Straub-Grillparzer." Theatre Survey 33, no. 2 (1992): 154–66. http://dx.doi.org/10.1017/s0040557400002386.

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While earlier dramatists treated Medea as a dramatic character, it was Euripides who gave her enduring theatrical prominence. Beyond crafting a timely attack upon a treacherous Corinth to appeal to Athens at the start of the Peloponnesian War, Euripides developed Medea to question the social role of women within a proudly patriarchal society. And he may have been the first to make Medea a non-Greek, a Colchian, a “barbarian”—a term that had become more derisive in the fifth century. In the Golden Age, a female foreigner was marginalized by gender and by heritage/race/ethnicity; a justified or

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49

Gouvêa Júnior, Márcio Meirelles. "Medea, noxium genus – a juridical reading of Seneca’s Medea." Revista Archai, no. 13 (2014): 35–43. http://dx.doi.org/10.14195/1984-249x_13_4.

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50

Marin Calderon, Norman. "L/a madre no existe: lacan, medea y la posición femenina de la “verdadera” mujer." Affectio Societatis 16, no. 31 (2019): 171–91. http://dx.doi.org/10.17533/udea.affs.v16n31a07.

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Este ensayo propone una lectura psicoanalítica de la Medea de Eurípides. Lacan sostiene que Medea es una “verdadera mujer” porque su acto privilegia la condición de mujer antes que la de madre. En este sentido, Medea de Eurípides es la tragedia de la feminidad ideal. Colocada en un más allá de la maternidad, ella se convierte en el paradigma de la mujer que sacrifica el tener (sus hijos) por el ser (mujer). Finalmente, en este artículo, se analiza la importancia del nombre propio para luego arribar a las distintas posiciones femeninas que Medea adopta a lo largo de la tragedia.

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