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Journal articles on the topic 'Medea'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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 wronged wife in Geoffrey Chaucer's Legend of Good Women; or as a nightmare figure that appears like Grendel in Beowulf to destroy Jason's wedding feast in Raoul Lefèvre's History of Jason. The flexibility of the medieval myth of Medea is staggering—even more staggering than that of the Roman period—stretched as it was across a continent of warring kingdoms, with different authors and audiences pressing classical texts to generate new and culturally relevant and acceptable meanings. However, appropriately enough for a volume titled ‘Roman Medea’, there is one multiple of Medea that drops out of the equation as a direct influence: the Greek Medea, the Medea of Euripides and Apollonius. The loss of the Greek tradition did not impede medieval authors, who found more than enough in Latin texts to inspire them. The basic Latin materials upon which the Middle Ages built their Medeas were Ovid's Metamorphoses and Heroides, along with scattered references in other popular authors like Statius, presentations of irrational women in love like Dido in Virgil, descriptions of child murderers such as Procne also taken from the Metamorphoses, and terrifying witches such as Lucan's Erictho. However, some Latin texts which we might have expected to be influential, such as Seneca's Medea, were marginal to the medieval tradition.

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2

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). Seneca's Medea (more so than Euripides' Medea) identifies with a specifically transformative project, and, one might initially suspect, supplies a neat explication of the transformation missing from Medea's narrative in the Metamorphoses. What we find, however, is that, in dramatising her process of metamorphosis, Seneca irreparably alters our relationship with the transformed Medea.In the Metamorphoses, ‘Ovid does not explain the reason for Medea's transformation into a sorceress and semidivine, evil being…’, but it is clear in the narration that a metamorphosis does occur: ‘Ovid passes abruptly from a sympathetic portrayal of Medea as love-sick maiden to a tragi-comic account of her career as accomplished pharmaceutria (witch) and murderess.’ But the metamorphosis of Medea's character is signalled just as much by her own retreat into silence. The ‘love-sick maiden’, who lays her thoughts out in the open, gives way to the ‘semidivine, evil being’, who speaks only pragmatically (in incantatory language or to the daughters of Pelias) or not at all (e.g., while flying, in Corinth, and in Athens). The loss of Medea's perspective is much of the reason why Ovid's ‘transformed’ Medea seems so unsympathetic. Seneca provides this missing perspective, and in doing so creates a uniquely sympathetic and inhuman result: Seneca's Medea leaves the stage as abruptly as Ovid's Medea leaves Iolcos and Athens (Met. 7.350 and 7.424, respectively), having committed the same crimes as Ovid's Medea, and as ‘supernatural’ as Ovid's Medea (if not more so), yet her newfound system of values is completely comprehensible. In creating a comprehensible account of her motives for transformation, Seneca's Medea, even as the semidivine ‘pharmaceutria’, seems more sympathetic even as she maintains similarities to Ovid's character.

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3

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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4

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 social power is wielded; and (c) theÂ outcomesÂ produced by the use of social power. I find thatÂ MedeaÂ carried a greater burden of love towards Jason than Jason did towards her, fuelled and sustained by her enduring and greater need for security and happiness. And in intimate relationships, the principle of least interest (Waller and Hill 1951) works: the beloved tends to dominate the lover. Jason, however, overreached himself when he violated the minimum conditions of his own desirability â€“ fidelity to and respect for Medea. I conclude that Medeaâ€™s violent reaction to Jasonâ€™s conduct indicates the fragility of love as a basis of social power in intimate relationships.

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5

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, Augustine, Corippus, Martianus and Fulgentius. Although the two poems present radically different heroines, both exhibit the sophisticated allusivity, wordplay and interest in formal structures and rules that characterise Latin literature from Africa. One Medea makes a lethal intervention in Vergilian poetics; the other Medea channels a distinctively Statian Muse.Hosidius Geta's Medea is a short tragedy consisting of eight scenes and three choral songs that recounts the familiar events of Medea's vengeance in an unfamiliar form—it is the first extant example from antiquity of a cento. Mystery shrouds the origins of this Medea—we are unlikely ever to know for certain where, when or by whom it was written. It is probably a late second or very early third century text from Roman Africa. It is first mentioned by Tertullian, who brings it up as an example of the kind of improper manipulation of scripture perpetrated by heretical readers—that is, as a perverted form of reading. Tertullian's digressive expostulation is the first account we have both of Hosidius' Medea and of the cento form, i.e., the creation of poems made entirely from lines or half lines of a master-text. Tertullian's wording, however, implies that his readers will immediately recognise what a cento is, suggesting that this art form had been around for a long time. More interestingly, in light of the later Christian adoption of the cento form, he disapproves of the reading practices their composition implies, and finds Scripture especially vulnerable to such abuse. It is not hard to see why the fundamentalist preacher Tertullian would be alarmed by the poetics of the cento, for centos expose the multivalent nature of language, forcing the reader constantly to focus on the protean ability of words to change their meanings depending on context. To one whose goal is to establish truth according to the authoritative rule of faith, such linguistic play is threatening.

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6

Hooper, Corey. "Medea." Psychological Perspectives 64, no. 2 (April 3, 2021): 211–21. http://dx.doi.org/10.1080/00332925.2021.1959218.

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7

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

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8

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

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9

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

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10

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

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11

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

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12

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

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13

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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14

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

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15

Wisotzkey, R. G., A. Mehra, D. J. Sutherland, L. L. Dobens, X. Liu, C. Dohrmann, L. Attisano, and L. A. Raftery. "Medea is a Drosophila Smad4 homolog that is differentially required to potentiate DPP responses." Development 125, no. 8 (April 15, 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 phosphorylation, and requires physical association with MAD for nuclear translocation. Furthermore, inactivating MEDEA mutations prevent nuclear translocation either by preventing interaction with MAD or by trapping MAD/MEDEA complexes in the cytosol. Thus MAD-mediated nuclear translocation is essential for MEDEA function. Together these data show that, while MAD is essential for mediating all DPP signals, heteromeric MAD/MEDEA complexes function to modify or enhance DPP responses. We propose that this provides a general model for Smad4/MEDEA function in signaling by the TGF-beta family.

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16

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

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17

Santos Filho, Andrelino Ferreira dos. "NUANÇAS DA PAIXÃO NA MEDEIA DE EURÍPIDES." Sapere Aude 10, no. 19 (July 14, 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 rege as cenas marcadas por forças irracionais, serão levadas em consideração as noções de ódio e cólera/ira, entre outros. Para proceder a análise textual, foram utilizadas três traduções em português, a saber, a tradução de Mário da Gama Kury, a tradução de Jaa Torrano e a tradução de Maria Helena da Rocha Pereira, além do texto grego publicado pela editora ateniense Kaktoz.PALAVRAS-CHAVE: Medeia. Tragédia. Irracional. Ira.ABSTRACTEuripides’ Medea is one of the most important plays of ancient theater. The complexity of the text and the fertility of interpretive possibilities has aroused great interest among scholars. In this article, I intend to analyze some notions that make up the core of the irrational typified in the protagonist (Medea). This is to demonstrate the inadequacy of the use of the term pathos to qualify the behavior of the character in the drama. The problem consists in the few occurrences of pathos to sustain the meaning of what is to act by the irrational. In order to broaden the understanding of what governs scenes marked by irrational forces, notions of hatred and anger, among others, will be taken into account. To proceed with the textual analysis, three Portuguese translations are used. They are: the translation of Mário da Gama Kury, the translation of Jaa Torrano and the translation of Maria Helena da Rocha Pereira, and also, the Greek text published by the Athenian Kaktoz publisher.KEYWORDS: Medea; Tragedy; Irrational; Anger.

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18

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, oriental ‘other’, barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complexities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically ‘Roman’ Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculpture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Roman intellectual and visual world. The present introduction briefly outlines Medea's Greek history before examining in detail her journey through Republican Rome. It concludes with a survey of her imperial configurations and a preliminary framing of the studies which follow.

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19

Campbell, Celia Mitchell. "MEDEA'S SOL-IPSISM: LANGUAGE, POWER AND IDENTITY IN SENECA'S MEDEA." Ramus 48, no. 01 (June 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 troubling contours she knows of not only her own mythology, but also her literary history. Medea's dominating focus on her name allows this layered acknowledgement of self, of Medea as both mythological figure and literary fixture. In resultant discussions, the weight given to her name in precipitating this sense of identity within her play has, quite naturally, led to a proportionate emphasis upon who Medea is. In some ways, Medea's notably self-annotative process of becoming ‘Medea’ eclipses other useful interrogative frameworks of her identity: the spotlight on the ‘who’ of Medea comes somewhat at the expense of the ‘what’, or the ‘how’. This is not to say that such categories are not mutually informative or intertwined, for Medea (by Seneca's time) does, in fact, have a defining act: the murder of her children. Who Medea is stems from what she does, the sentiment vividly expressed by Medea nunc sum. In light of these considerations, I would suggest a different perspective from which to conceptualize Medea's identity, one that takes into account the paired aspects of being and doing that together comprise an understanding of character, especially within drama. This perspective departs from a framework dependent on progressive structural characterization, as represented by the trio of passages cited above, and focuses instead on characterization via demonstrated patterns of linguistic tendency, on both macroscopic and microscopic levels. From the beginning, Medea displays measured consistency with her relentless knowledge of self as she transforms these categories of identification and action: as the play develops, her sense of ‘this is who I am’ becomes ‘this is what I do’.

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20

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 (April 15, 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 that Medea may have two independently mutable functions in patterning the embryonic ectoderm. Complete elimination of maternal and zygotic Medea activity in the early embryo results in a ventralized phenotype identical to that of null dpp mutants, indicating that Medea is required for all dpp-dependent signaling in embryonic dorsal-ventral patterning. Injection of mRNAs encoding DPP or a constitutively activated form of the DPP receptor, Thick veins, into embryos lacking all Medea activity failed to induce formation of any dorsal cell fates, demonstrating that Medea acts downstream of the thick veins receptor. We cloned Medea and found that it encodes a protein with striking sequence similarity to human SMAD4. Moreover, injection of human SMAD4 mRNA into embryos lacking all Medea activity conferred phenotypic rescue of the dorsal-ventral pattern, demonstrating conservation of function between the two gene products.

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21

Cassidy, Sarah. "WEDDING IMAGERY IN THE TALOS EPISODE: APOLLONIUS RHODIUS,ARGONAVTICA4.1653–88." Classical Quarterly 68, no. 2 (December 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 theArgonauticaand the future Medea, one whose actions are already well known from such works as Pindar's fourthPythian Odeand Euripides’Medea. The importance for Apollonius to create a plausible transition between the Medea of earlier myth and the Argonautic Medea is evident. A clear-cut break from tradition would allow Medea to become an alternative Medea, perhaps akin to the alternative portrayal of Helen by Euripides; a continuation would allow corroboration with earlier sources, which would lend authority and validation to Apollonius’ version. It is now the common consensus that Apollonius tried, however successfully, to bridge the gap between a young and an adult Medea and between tradition and innovation in her character.

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22

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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23

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

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24

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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25

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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26

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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27

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

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28

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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29

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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30

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

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31

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

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32

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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33

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

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34

Hulse, Peter. "MEDEA AIΔHΛOΣ?" Mnemosyne 73, no. 2 (March 4, 2020): 321–26. http://dx.doi.org/10.1163/1568525x-12342740.

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35

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

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36

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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37

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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38

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

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39

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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40

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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41

Baldwin, Oliver. "Medea is a Good Boy: performing, subverting, and unmasking tragic gender." Classical Receptions Journal 12, no. 4 (September 27, 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 entail. This article explores how Riaza theatrically reflects on the social performativity of gender through the tragic character and story of Medea, her performance and subversion of her own gendered self, and her eventual rejection and social displacement.

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42

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 Golden Fleece. The terms colonizer and colonized which are at the heart of the postcolonial theory are hardly applied with the play Medea. Therefore, analyzing this topic from the present day postcolonial theory adds a new perspective to this Greek play.

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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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Gadberry, Glen W. "The Black Medeas of Weimar and Nazi Berlin: Jahnn-Straub and Straub-Grillparzer." Theatre Survey 33, no. 2 (November 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 sympathetic Medea challenged Athenian prejudices about both. Yet this Medea is problematic: a seriously aggrieved wife is driven to horrible acts against Greeks—Jason, his sons, the king of Corinth, and as a complicating fillip of multi-gender vengeance, the female rival. Our sympathies are subverted: a wronged Medea could also be a bloody figure of feminine and alien power, fatal to men and women, public and domestic order.

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Marin Calderon, Norman. "L/a madre no existe: lacan, medea y la posición femenina de la “verdadera” mujer." Affectio Societatis 16, no. 31 (July 14, 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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Hadiyanto, Hadiyanto. "Killing Guiltlessly as Reaction of Sadistic Personality Disorder in Euripides’ Medea (A Psychological Approach in Literature)." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (June 10, 2020): 1–10. http://dx.doi.org/10.14710/culturalistics.v4i1.6649.

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ABSTRACT This research paper is aimed at analyzing one of Euripides’ well-renowned classical literary works entitled Medea by focussing on Medea as the main character of the story, Medea’s psychological state, psychological reason, and sadistic personality disorder reaction. This research paper uses psychological approach in analyzing the related psychological phenomena in Euripides’ Medea. The resut of the research indicates that Medea, who gets accustomed to being raised in a barbarous family and living in a barbaric environment, has a natural impulsive behaviour to kill other persons guiltlessly. Key words: killing, guiltless feeling, sadistic personality disorder

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Gunawiayu, Asih, N. Rinaju Purnomowulan, and Sri RIjati Wardiani. "RESISTENSI DAN NEGOSIASI PERAN PEREMPUAN DALAM ROMAN MEDEA. STIMMEN KARYA CHRISTA WOLF." Metahumaniora 9, no. 2 (January 6, 2020): 276. http://dx.doi.org/10.24198/metahumaniora.v9i2.22673.

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Penelitian ini bertujuan untuk mengungkap resistensi dan negosiasi peran perempuan dalam Roman Medea. Stimmen karya Christa Wolf. Permasalahan yang dibahas adalah sikap dan tindakan Medea yang ditunjukkan dalam meresistensi dan menegosiasi peran perempuan pada Roman Medea. Stimmen. Dalam penelitian ini digunakan teori naratologi dari Bal (2009), dan konsep peran perempuan dalam masyarakat patriarkal yang dikemukakan oleh Figes (1986) dan Greer (1999). Penelitian ini menggunakan metode deskriptif kualitatif. Hasil penelitian menunjukkan bahwa sikap dan tindakan Medea yang meresistensi dan menegosiasi peran perempuan merupakan mekanisme yang dilakukan agar ia dapat bertahan dalam masyarakat patriarkal, sekaligus tetap memiliki otoritas terhadap dirinya.

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Gunawiayu, Asih, N. Rinaju Purnomowulan, and Sri RIjati Wardiani. "RESISTENSI DAN NEGOSIASI PERAN PEREMPUAN DALAM ROMAN MEDEA. STIMMEN KARYA CHRISTA WOLF." Metahumaniora 9, no. 2 (January 6, 2020): 276. http://dx.doi.org/10.24198/mh.v9i2.22673.

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Penelitian ini bertujuan untuk mengungkap resistensi dan negosiasi peran perempuan dalam Roman Medea. Stimmen karya Christa Wolf. Permasalahan yang dibahas adalah sikap dan tindakan Medea yang ditunjukkan dalam meresistensi dan menegosiasi peran perempuan pada Roman Medea. Stimmen. Dalam penelitian ini digunakan teori naratologi dari Bal (2009), dan konsep peran perempuan dalam masyarakat patriarkal yang dikemukakan oleh Figes (1986) dan Greer (1999). Penelitian ini menggunakan metode deskriptif kualitatif. Hasil penelitian menunjukkan bahwa sikap dan tindakan Medea yang meresistensi dan menegosiasi peran perempuan merupakan mekanisme yang dilakukan agar ia dapat bertahan dalam masyarakat patriarkal, sekaligus tetap memiliki otoritas terhadap dirinya.

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Meccariello, Chiara. "The First Medea and the Other Heracles." Philologus 163, no. 2 (November 6, 2019): 198–213. http://dx.doi.org/10.1515/phil-2018-0021.

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Abstract This paper focuses on the presumed existence of two versions of Medea and Heracles in the Euripidean corpus that circulated in antiquity. After a brief review of the main papyrological evidence, namely P.Oxy. LXXVI 5093 for the Medea and P.Hibeh II 179 for the Heracles, I discuss the implications of adding another Medea and another Heracles to the Euripidean corpus in the light of the extant ancient testimonies on the number of works in Euripides’ oeuvre. Moreover, I examine the clues provided by the headings of the hypotheses of the extant Medea and the extant Heracles as preserved in P.IFAO inv. PSP 248 and P.Oxy. LXXXI 5284. On these grounds, I argue that the supposed evidence for the existence of two distinct Medea and two distinct Heracles plays should not be interpreted as evidence of double authorial versions.

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Battistella, Chiara. "MEDEA AND THE JOY OF KILLING." Greece and Rome 68, no. 1 (March 5, 2021): 97–113. http://dx.doi.org/10.1017/s0017383520000261.

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It may be agreed that the character of Medea, one of the most intertextual heroines of the Graeco-Roman literary tradition, is a veritable crucible of the most disparate emotions, as the articles gathered in this issue aim to show. In Seneca's Medea, readers encounter a murderous mother who kills her own children, giving in to destructive anger or, rather, fury. This emotion has been widely and extensively studied both in relation to its Greek model, Euripides’ Medea, and in the light of the Stoic view on passions, so that it can be acknowledged as one of the most salient features of the Roman character's emotional profile from a literary and philosophical standpoint. Although both Medeas, while struggling within themselves in their famous monologues, debate whether they should or should not kill their children, Euripides’ heroine does not seem to murder them out of anger: she repeatedly claims that a pressing necessity urges her to do so; by contrast, the Senecan Medea lets her anger literally lead the way (ira, qua ducis, sequor; 953). They both describe the filicide they are about to commit as a sacrificial act (compare Eur. Med. 1053‒4: ὅτῳ δὲ μὴ / θέμις παρεῖναι τοῖς ἐμοῖσι θύμασιν, ‘whoever is not permitted to attend my sacrifice’ and Sen. Med. 970‒1: uictima manes tuos / placamus ista, ‘with this victim we placate / your spirit’), but Seneca's character is pushed towards it by the dreadful hallucinations of the Furies and the shadow of her brother approaching (958‒66), which certainly contributes to heightening the disquieting atmosphere of the play: his Medea ultimately appears as a much ‘darker’ and bleaker version of the Euripidean counterpart, also emerging as a full-blown villain, by whom readers are both repelled and fascinated. In addition to this, the vocabulary of extreme passions recurring throughout the play and the heights of anger that the Senecan Medea reaches represent some of the most noticeable variations on the Greek model, not to mention a famous portrait of the heroine by the Nurse (382‒96), which strikingly resembles that of the angry man depicted by Seneca in De ira 1.1.3‒5. In these pages, however, instead of focusing on the notorious ira and furor of Seneca's Medea, I intend to concentrate on another and yet quite strongly related emotion: joy. In general, it may be noted that the bodily felt responses brought about by both anger and joy have in common the category of expansion, unlike fear and sadness (or grief), in which there is a tendency towards contraction. To my knowledge, the emotion of joy in Seneca's play has not received much attention thus far, owing perhaps to the fact that, as mentioned, anger literally steals the limelight. Therefore, I will here attempt to delve into this emotion, which appears to characterize Medea's criminal deeds, especially towards the end of the play, with a view to bringing to the fore its nuances and function. Although joy, at first glance, may seem to be extraneous to a tragic plot staging a filicide, since it is usually associated with good or positive events, it will be argued that this emotion (also verging on pleasure) is particularly fitting for the Senecan character, in that it takes a ‘perverted’ and monstrous form in the play, even coming to distort some concepts central to the Stoic doctrine.

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