Bibliografías temáticas / Medea (Euripides)

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Literatura académica sobre el tema "Medea (Euripides)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de agosto de 2024

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Artículos de revistas sobre el tema "Medea (Euripides)"

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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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2

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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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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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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Meridor, Ra'Anana. "Euripides, Medea 639." Classical Quarterly 36, no. 1 (1986): 95–100. http://dx.doi.org/10.1017/s0009838800010569.

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Modern interpretation tends to take E. Med. 639, ‘driving from the senses over a second bed’ (θυμ⋯ν ⋯κπλήξασ' ⋯τέροις ⋯π⋯ λέκτροις), found within the petition of the chorus that ‘dread Cypris never…inflict angry arguments and insatiate quarrels’ (637–40a), as referring to a second bed that might allure these women themselves rather than one that might allure their husbands. None the less, the latter interpretation seems to be recommended by both the contents and the context of the line; it is also consistent with Euripidean idiom. As to the context, v. 639 is found in the second stasimon. An examination of the attitude of the chorus toward Medea up to this point may guide us towards a fuller understanding of the phrase.In her opening speech in the first episode (214ff.) Medea, who was betrayed by the husband for whom she left family and country (252ff.), persuades the already sympathetic chorus (136–8, 178f., 182) to side with her as underprivileged women in a world dominated by egocentric men (230ff.). In the first pair of strophes of the following stasimon (410–30) they accept Medea's division of human beings into ‘the female stock’ (419) and ‘the race of males’ (429) and sing of male perfidy and discrimination against women. They stress their own personal involvement by replacing ‘women’ with ‘I’ and ‘we’ in five of the seven references to the second sex (415 and 422 ‘my’, 423 and 430 ‘our’, 428 ‘I’).
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Meccariello, Chiara. "The First Medea and the Other Heracles." Philologus 163, no. 2 (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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Cairns, Douglas. "THE DYNAMICS OF EMOTION IN EURIPIDES’ MEDEA." Greece and Rome 68, no. 1 (2021): 8–26. http://dx.doi.org/10.1017/s0017383520000212.

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Medea's emotions loom large in a wide range of dramatic, literary, and philosophical sources from Euripides onwards. In focusing on aspects of the emotional texture of the original Euripidean play, all one can do is scratch the surface of an enormous subject, both in that play and in its reception in ancient literature and thought. Fortunately, we have the other articles in this issue of Greece & Rome to supplement this inevitably limited perspective. My procedure in this short paper is simply to highlight certain aspects of the dramatization of emotion in Euripides’ Medea that strike me as especially worthy of analysis in terms of ancient or modern emotion theory.
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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 their different political and moral purposes, proving the malleability and esotericism of myth.
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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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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 (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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Tesis sobre el tema "Medea (Euripides)"

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Anderson, Lois Marjory. "Directing Euripides' Medea." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12609.

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This thesis documents the directorial preparation and rehearsal process for the production of Euripides Medea, produced at the TELUS theatre, January 2009, as the thesis requirement for an MFA in Directing from the Theatre Department of the University of British Columbia. Included are a script analysis of the Kenneth McLeish translation of Medea, a rehearsal journal, and an essay examining the role and intervention of the gods in Euripides’ Medea. This production was framed as a re-enactment by the household staff of Jason and Medea. The appendix includes a storyboard script for the household characters written by the director. The bibliography includes sources used by the director for script analysis research. Challenges in staging Medea include the deus ex machina, the child actors and staging the Greek Chorus. An essential question explored in this production is the character of Medea and whether the audience is to consider her as a monster or as a human. This production explored the deus ex machina as an act of grace, signaling that the gods transcend societal codes of justice, and that Euripides offers the image of a complex woman, struggling and stumbling towards the divine.
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Jones, Jonathan Hew Cabread. "A literary commentary on Euripides' Medea." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307358.

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Hinkelman, Sarah A. "EURIPIDES’ WOMEN." Ohio University Art and Sciences Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1428872998.

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O'Neill, G. G. "A study of the major speeches in Euripides' Medea." Thesis, Queen's University Belfast, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252596.

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Evans, Samantha Jane. "The self and ethical agency in Euripides' Hippolytus and Medea." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326624.

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Kipker, Sarah. "Medea: översättningar och omtolkningar : En receptionsstudie av Euripides drama mellan 1860 och 2016." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323790.

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Medea is, even though a mythological woman from ancient Greece, very popular today and her story feels modern, which many recent adaptations clearly prove. How can this ancient material be so applicable and thought-provoking to discuss today? This study shows how different translators and authors have interpreted and re-imagined Medea to make her feel relevant to their contemporary societies. Focus is put on Medea’s roles as a woman and a foreigner, because these aspects are especially relevant today. The following research compares three Swedish translations of Euripides Medea from 1860, 1931 and 2012 with each other and analyses three modern adaptations (a movie by Lars von Trier, a novel by Christa Wolf and a play by Viktor Tjerneld) to reveal similarities and differences in the reception of the ancient material. This is achieved by a close reading and analysis of the source material with a theoretical approach that focusses on classical reception and drama theory. The results show that the different translations only differ in nuanced details because all of them try to stay as true as possible to the ancient Greek original. Only the prefaces and character lists written by the translators reveal significant differences in the values that they express and that are signs of their contemporary societies. The modern adaptations offer more possibilities for changing the original depending on which aspects are important during the time of publication. The results show that Medea’s role as an independent woman is important today, but also that her role as a foreigner becomes even more significant as the debates about refugees are getting more evident in our society.
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Rodriguez, Mia U. "Medea in Victorian Women's Poetry." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355934808.

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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.

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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.
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Thumiger, Chiara. "Hidden paths : self and characterization in Greek tragedy: Euripides' Bacchae /." London : Institute of Classical studies, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016267112&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Syrový, Michal. "Euripides : Medeia." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79462.

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Greek drama defines the place in which the theatrical performances takes place, fave a birth to the basic genres - tragedy and comedy. The emergence of the dramatic genre is somehow associated with the initial magical beliefs of our ancestors, that will play when the story will help to the real implementation. Some of the myths that have for the psyche of the Greeks fundamental importance, have been demonstrated in the context of religious rituals on stage and later gave rise to the classic drama. The Tragedy has probebly its origin in ritual worship of the god Dionysus - in simpplified playing his myth. The Tragedy draws its themens from the history or myth. The tragedy sets apart current problems by a mythical mirror. Aristotle defines the essence of tragedy as: "Views of the storyline serious and comprehensive, which has a specific range, taking acting characters, not story, and operates through pity and fear, and purification of such emotions (Katharsis)." The Development of a Greek theater space was designed mainly by physical needs of the audience to hear well and see the actor and the Featured activities of the changing nature. Athens Theatre was a mass spectacle, accessible to all participants of the festival, including foreigners, slaves and women, if they paid for it. Initially, the ritual space is gradually turning to the theater, where is clearly defined audience and stage. The staging area is start to develope. The first scene was the "nature". The viewer has perceives the actor behind the open countryside. Human drama againts the backdrop of the Universe. Subsequent incorporation of the building as a theater space decorations departs from its religious - origins and ceremonial artefacts and becomes artifical. Painted frames coming into use later with a hint of perspective, and many theatrical machines, allowing flying, revealing. etc.Ancient drama was the beginning of the whole production of European theater which has spared later in its various forms all over the world. There is a practical part in the end - development and final version of stage design solutions of Euripides´s Medea.
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Libros sobre el tema "Medea (Euripides)"

1

Kennelly, Brendan. Euripides' Medea. Bloodaxe, 1991.

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William, Arrowsmith, Diamond Dennis, Steadman Peter, and The New York Greek Drama Company., eds. Euripides' Medea [videorecording]. The New York Greek Drama Company, 1986.

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Underiner, Tamara L. Euripides' Medea and Electra. Research & Education Association, 1995.

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Papageorgiou, Vasilis. Euripides' Medea and cosmetics. Almqvist & Wiksell International, 1986.

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Euripides, ed. Euripides' Medea: A new version. Bloodaxe Books, 1991.

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Euripides, ed. Euripides' Medea: In a new version. Nick Hern, 2010.

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Goodrich, Joseph. Medea: A new adaptation of Euripides. Playscripts, Inc., 2005.

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Paulin, Tom. Euripides' Medea: In a new version. Nick Hern, 2010.

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Ohlander, Stephen. Dramatic suspense in Euripides' and Seneca's Medea. P. Lang, 1989.

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Euripides, ed. Euripides: Mit einer Prosa-Übertragung der Medea. Adolf M. Hakkert, 2002.

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Capítulos de libros sobre el tema "Medea (Euripides)"

1

Ewans, Michael. "EURIPIDES Medea." In Euripides' Medea. Routledge, 2021. http://dx.doi.org/10.4324/9781003215844-2.

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Grethlein, Jonas. "Euripides, Medea." In Asyl und Athen. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-02906-5_6.

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Manolopoulos, Sotiris. "Euripides' Medea." In Understanding Human Life through Psychoanalysis and Ancient Greek Tragedy. Routledge, 2024. http://dx.doi.org/10.4324/9781032712864-4.

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Ewans, Michael. "Theatrical commentary." In Euripides' Medea. Routledge, 2021. http://dx.doi.org/10.4324/9781003215844-4.

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Ewans, Michael. "Introduction." In Euripides' Medea. Routledge, 2021. http://dx.doi.org/10.4324/9781003215844-1.

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Ewans, Michael. "Translation notes." In Euripides' Medea. Routledge, 2021. http://dx.doi.org/10.4324/9781003215844-3.

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Swift, Laura. "Medea." In A Companion to Euripides. John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119257530.ch6.

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Brown, Robert D., and Robert DeMaria. "Translations from Euripides's Medea." In The Complete Poems of Samuel Johnson. Routledge, 2024. http://dx.doi.org/10.4324/9781003273257-91.

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Marwah, Anuradha. "Interpreting Euripides's Medea in the Contemporary Indian Context." In From Canon to Covid. Routledge India, 2023. http://dx.doi.org/10.4324/9781003399926-10.

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"MEDEA." In Euripides: Medea. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511806223.007.

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