Academic literature on the topic 'Myth; Perseus; Gorgones'

Among extant sources, only Pindar (Pyth. 12) and, about 9 centuries later, Nonnus of Panopolis (Dionys. 40. 227–233; 24. 36–38) tell the story of the inventing of the many-headed nome (an instrumental aulos piece depicting with musical means the victory of Perseus over the gorgons): it is said to have been created by Athena to imitate the wailing of the gorgons over decapitated Medusa, of which she was an eyewitness. It is argued that Pindar himself was the author of this etiological legend: he proceeded from two already current myths, that of Perseus patronized by Athena and that of Athena inventing aulos playing, and combined them to please his client, Midas the aulos player, who most probably won the Pythian victory performing exactly the many-headed nome. Nonnus borrowed the myth from Pindar. Geographical specifications, which are different in Pindar and Nonnus, do not contradict this conclusion.

SummaryThe poet Virgil in his Aeneid employs Gorgon imagery and its attendant connection to the goddess Minerva as part of his explication of one of the key themes of his Augustan epic, namely the progress from a Trojan past to a Roman future. Close analysis of the references to the Perseus myth and related Gorgon legends in the Aeneid reveals a carefully constructed web of intratextual allusions that serve in part to underscore the end of the Trojan order and the advent of the Roman.

Here we report the discovery of ceramic fragments that form part of a Gorgoneion, a ceramic image representation of the Gorgon Medusa. The fragments were found in a deep part of Gorham’s Cave, well known to ancient mariners as a natural shrine, between the 8th and 2nd century BCE. We discuss the context of this discovery, both within the inner topography of the cave itself, and also the broader geographical context. The discovery is situated at the extreme western end of the Mediterranean Sea, where it meets the Atlantic Ocean. The location was known to ancient mariners as the northern Pillar of Herakles, which marked the end of the known world. We relate the discovery, and its geographical and chronological context, to Greek legends that situated the lair of the Gorgon sisters at a location which coincides with the physical attributes and geographical position of Gorham’s Cave. We thus provide, uniquely, a geographical and archaeological context to the myth of Perseus and the slaying of the Gorgon Medusa.

Why is contemporary culture, with its feminist agenda, not satisfied with the severed head of Holofernes or John the Baptist, but finds Perseus’ severed head in the hands of Medusa the Gorgon highly relevant? This paper presents a hermeneutical analysis of neo-mythological simulacra as manifestations of posthumanistic trends in contemporary visual culture, using Luciano Garbati’s Medusa with the Head of Perseus, publicly installed in New York in 2020, as an example. The hermeneutic analysis of the archaic myth and its visual representation explores the transformation of Medusa’s image, from its chthonic and unattractive form to a more personal and aesthetically pleasing depiction that originated in antiquity and has influenced the contemporary portrayal of Medusa in the media as well. The analysis then uncovers the basis for the feminist interpretation of Medusa as a figure that challenges the symbolic patriarchal order embodied by Perseus, while remaining a representation of the uncanny. The contemporary media’s preoccupation with the archaic heritage may be attributed to an unconscious longing for the lost harmony with the world. This thesis is supported by examining the cultural dialogue between Garbati’s contemporary art object and the Renaissance sculpture by Benvenuto Cellini, which reveals the paradox of anthropocentrism. In the context of Renaissance tendencies, the symbolic killing of Medusa demonstrates the destruction of a holistic human and nature consciousness, as reflected in both archaic and religious myths. This destruction has led Western culture towards positivism, nihilism, and self-negation, while simultaneously affirming the concept of the superman and the nomadic subject. Contemporary Perseus literally transforms into a body-without-organs, losing organization and integrity; Medusa, in turn, resembles the Red Queen from Alice in Wonderland, personifying the chaotic power of reactive forces that render a person in a state of being a body-without-organs—or a head without a body. Consequently, Perseus himself becomes a monster or a failed hero, representing the posthuman and postgender, and serving as a neo-mythological symbol of posthumanism. However, these tendencies do not contribute to the restoration of harmony and integrity; instead, they exacerbate internal conflict and selfdestruction in the technogenic era, leading humans to exclude themselves from the universe and perceive themselves as system errors.

Aeschylus,  in  a  fragmentary  passage  of  his  lost  tragedy  Phorkides,describes  the  moment  in  which  Perseus  «like  a  boar  (aschedoros)»  goes  in  thegorgonian cavern. Aim of this essay is to understand the functional and symbolickeys by virtue of which Aeschylus uses this animal as metaphorical translation ofthe heroic image of Perseus.

The purpose of this research is to highlight some characteristic examples of the golden works depicting the gorgoneio and Gorgon. These works are part of the wider chronological and geographical context of the ancient Greek world. Twenty six artifacts in total, mainly jewelry, as well as plates, discs, golden bust, coins, pendant and a vial are being examined. Their age dates back to the 6th century. B.C. until the 3rd century A.D. The discussion is about making a symbol of the deceased persist for long in the antiquity and showing the evolution of this form. The earliest forms of the Gorgo of the Archaic period depict a monster demon-like bellows, with feathers, snakes in the head, tongue protruding from the mouth and tusks. Then, in classical times, the gorgonian form appears with human characteristics, while the protruded tusks and the tongue remain. Towards Hellenistic times and until late antiquity, the gorgoneion has characteristics of a beautiful woman. Snakes are the predominant element of this gorgon, which either composes the gargoyle's hairstyle or is plundered like a jewel under its chin. This female figure with the snakes is interwoven with Gorgo-Medusa and the Perseus myth that had a wide reflection throughout the ancient times.

Abstract In Book 4 of Ovid’s Metamorphoses, the famous backstory of the Gorgon Medusa is related by her slayer Perseus: Neptune raped her in the temple of Minerva, and the goddess turned her hair into snakes out of divine vengeance for the desecration of her sanctuary. With few exceptions, most Ovid scholars are hesitant to posit any explanation for Medusa’s appearance at the temple, which does not appear to be justified in Ovid’s poem as it stands. In this article, the possibilities will be further explored: was Medusa (1) a priestess, (2) a suppliant or (3) simply a young woman of otherwise unspecified status? On further examination of the Book 4 passage, it will be argued that Ovid presents the metamorphosis myth of Medusa as an allusion, and that earlier sources were more likely to be forthcoming in their identification of the character.

Abstract The snake-haired Gorgons whose looks turn men to stone are among the best-known monsters of classical antiquity, and the Gorgon’s face is among the commonest motifs in ancient art, from rooftops to drinking-cups. The mortal sister Medusa is literally objectified when the hero Perseus, with divine help, cuts off and steals her head: as their story expands over centuries, more image-making motifs are added. In both art and poetry, the bestial Gorgon becomes more maidenly and often sympathetic. After antiquity, Medusa is reimagined for many purposes: among twentieth-century theorists she gains prominence as a psychological symbol and feminist icon. After equally varied interpretations in the creative arts, contemporary popular media has made the Gorgon a canonical monster-type, usually as a femme fatale.