Tesis sobre el tema "Medea (Euripides)"

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.

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.

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.

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.

Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: Euripides’s Medea have been staged a number of times in the new South Africa. This study’s purpose is to provide a practical example of a rewritten Medea set in a contemporary Afrikaner community. The political climate and gender views employed in the Euripidean Medea are analysed and compared to that of the new text. The themes in the Euripidean Medea are analysed as well as possible themes in the Afrikaner community to provide the new text with contemporary social trends in the white Afrikaner community. The style of the Euripidean Medea is analysed and adapted in the new play to create a style that can be accommodated in contemporary South African theatre. Appropriating Medea in an Afrikaner community will hopefully provide future theatre-makers with a narrative of the practical process of appropriation from which more universal principles on the practice can be derived as the play has never been fully rewritten in Afrikaans to create an authentic play.
AFRIKAANSE OPSOMMING: ’n Aantal produksies van Euripides se Medea is in die nuwe Suid-Afrika gedoen. Die doel van hierdie studie is om ’n praktiese voorbeeld te skep van ’n nuutgeskrewe Medea wat verplaas is na ’n kontemporêre Afrikaner gemeenskap. Die politieke klimaat en geslagsrolle in die Euripidese Medea word ontleed en vergelyk met dié van die nuwe teks. Die temas in die Euripedese Medea word ontleed, asook moontlike temas in die Afrikaner gemeenskap om kontemporêre sosiale tendense vir die nuwe teks te vind. Die styl van die Euripedese Medea is ontleed en in die nuwe teks aangepas tot ’n styl wat in die kontemporêre Suid Afrikaanse teater haalbaar is. Deur Medea te verplaas na ’n Afrikaner gemeenskap, kan ʼn moontlike voorbeeld geskep word wat as narratief vir toekomstige teatermakers kan dien vir die praktiese proses van verplasing waaruit universele beginsels gevorm kan word aangesien die drama nog nie vantevore volkome herskryf is tot ’n outentieke drama in Afrikaans nie.

Ma thèse s'intitule “Le mythe de Médée. De Euripide à Pier Paolo Pasolini et Christa Wolf”. Il s'agit d'une analyse comparatiste, dans le but de démontrer les liens existants entre l'écriture – ou bien la réécriture – et les événements culturels et politiques du pays des deux auteurs. Dans le cas spécifique, la comparaison est axée sur le film de Pasolini (1969) et le roman de Christa Wolf (1996), deux textes que j'ai considéré comme particulièrement significatifs en raison de la biographie des deux auteurs et du moment historique dans lequel ces ouvrages furent élaborée. En effet, ma thèse ne se veut pas comme un travail exclusivement littéraire, avec une analyse des éléments esthétiques et stylistiques des textes, mais j'ai cherché d'élaborer un discours qui touche aussi les aspects historiques et les processus liés à la réélaboration du mythe de Médée. J'ai structuré ma thèse dans deux chapitres parallèles, pour mieux permettre la comparaison entre les deux ouvrages. Après une partie dédiée aux points de rupture biographique (par. 1), je me suis concentrée sur l'analyse de la réécriture du mythe. J'ai prêté une attention particulière aux conditions sociopolitiques de l'Allemagne et de l'Italie à la sortie du film et du roman, pour passer enfin à l'analyse des sources littéraires, notamment celles du domaine anthropologique - Pasolini - et féministes – Wolf – en démontrant la stratification complexe qui est à la base d'une réélaboration du mythe. ( par. 2) En deuxième lieu, une longue partie de la thèse est dédiée à l'analyse détaillée du film de Pasolini et du roman de Christa Wolf, en concentrant l'attention sur les aspects originels apportés par les deux auteurs ainsi qu'à l'élaboration d'une poétique liée aux changements culturels et politiques de leurs temps (par. 3). Enfin, j'ai consacrée une partie à la réception, en montrant jusqu'à quels point les troubles de la société finissent pour altérer une lecture objective de l'œuvre (par. 4). Le dernier chapitre porte enfin sur les œuvres qui suivirent la publication de Médée, en montrant comment la réélaboration de ce mythe a influencé le travail dans les années suivants. (par. 5) La partie sur la "Medea" de Pier Paolo Pasolini a été rédigée en français, celle sur "Medea.Stimmen" en italien
My thesis is titled “The Myth of Medea. From Euripide to Pier Paolo Pasolini and Christa Wolf”. The work is a comparative analysis with the purpose of establishing links between the writings - better called rewritings - and political as much as cultural events in the countries of the two modern authors. My thesis focuses on the comparison between the movie by Pasolini (1969) and the novel by Christa Wolf (1996): I consider the two texts very meaningful because of their close connection with both biography of the authors and the historical moment in which the works have been developed.In fact, the work in my thesis does not only concern a literary analysis from an aesthetic and stilistic point of view, but I tried, moreover, to deepen those historical and political events that generated the re-elaboration of Euripide's myth of Medea.I wanted to structure my research in two parallel parts, in order to allow a better comparison between the two works. After a section dedicated to the biographies of the authors (Chapter 1), I focused my study on the actual rewriting of the myth. A particular care was given to the socio-political context in Germany and Italy in the times of release of the novel and the movie, and I afterwards payed a particular attention on the analysis of literary sources: above all in the anthropological field as concerning Pasolini, and feminist one for Christa Wolf, to demonstrate the complex stratification which is the foundation of a re-elaboration of myth (Ch. 2). Secondly, a substantial section of my thesis is dedicated to a detailed analysis of the movie by Pasolini and the novel by Christa Wolf, with an attention on the innovative aspects brought by the two authors, as well as to a poetic linked to political and cultural changes (Ch. 3). I dedicated a special part to the reception of the two works, showing how deep social and political troubles of then were a distort point of view on the works (Ch. 4). The last chapter, finally, analyze the works after the releas of Medea, proving how those re-elaborations of myth influenced the works in the following years (Ch. 5). The part concerning “Medea” by Pier Paolo Pasolin was written in French, while the part on Christa Wolf's “Medea. Stimmen” is in Italian

La tragedie grecque se constitue, sur le plan formel, d'elements fixes qui se succedent dans un ordre determine (prologue, parodos, episodes et stasima, exodos). La creation artistique du poete consiste alors a assortir les elements donnes de sorte que l'ensemble presente une composition harmonieuse et equilibree. Or, selon la conception grecque, la beaute reside dans l'ordre et le calcul,comme l'atteste la production artistique dans le domaine de l'architecture et des beaux-arts. Deux tragedies d'euripide, hippolyte et medee, sont analysees dans leur composition formelle afin de savoir si elle releve d'un calcul du poete. Pour etablir des quantites determinees, il convient de distinguer entre les deux formes de discours, le vers parle et le vers chante. Ainsi, les parties parlees se laissent mesurer par la simple addition des trimetres iambiques tandis que la composition des parties chantees demande une methode qui respecte la diversite des metres. En prenant les quantites etablies comme base, il est possible d'observer les rapports et les proportions des parties ainsi que l'agencement de l'ensemble. L'analyse strictement formelle conduit en meme temps a une lecture technique du texte qui permet de mettre en lumiere des liens thematiques, des references et des jeux de reprise et de variation. C'est la lecture technique qui donne acces a l'auto-commentaire par lequel l'auteur fournit des indications sur son travail technique. L'agencement des parties, le grand nombre de proportions interieures de meme que les rapports entre les parties et l'ensemble qui s'etablissent sans que l'on doive recourir a la suppression ou a la reconstitution de vers semblent enfin etayer la theorie d'une conservation extremement fidele du texte
As to its formal plan greek tragedy consists of a series of established elements following one another in a predetermined order (prologue, parodos, episodes and stasima, exode). The poet in his artistic creation has to arrange these elements so that the whole presents a harmonious and well-balanced composition. To the greek mind the idea of beauty is linked with that of regularity and calculated precision as it is attested by the architectural and artistic production of his time. Two euripidean tragedies, hippolytos and medea, are examined in view of their formal composition in order to find out if the latter is based on a calculated plan. For the establishment of measurable quantities it is necessary to distinguish between the two forms of text, spoken and sung verse. The spoken text can be measured by the simple addition of the iambic trimeters, whereas the sung parts require a method respecting the polymetric composition. Once the quantities are established, it becomes possible to observe their relations and proportions as well as their placement in the entire play. This strictly formal analysis also leads to a technical reading of the text illustrating thematic links and parallels or plays of repetition and variation. Furthermore, this technical reading reveals the author's commentary on his own art. The arrangement of the parts, the considerable number of proportions between the parts, as well as between the parts and the whole that appear without any deletion or addition of inauthentic or lost verse seem to confirm the theory of a highly faithful preservation of the text

Medea’s powerful ability to inspire and confuse is at the core of this study. The contradiction concerning Euripides’ character of Medea as a murderer and a victim will be explored in order to understand what implications this would have held for an ancient Greek audience. Thus the irregularities in this female character will be used to indicate the inconsistencies within the society from which Euripides was writing. Women’s lack of freedom in ancient Greece, their confinement to the house and their lack of opportunity to voice their opinions and concerns produced an imbalance in society. This masculine community led to extremes in behaviour. Male heroes overemphasised traits which stressed their physical prowess and masculine bravery. As a hero, Jason’s all-consuming ambition was to succeed in endeavours such as the quest for the Golden Fleece, and to reclaim his title of king. He took advantage of Medea’s gifts until she was no longer of any use to him and then left her for a younger, more beneficial princess to accomplish his subsequent task of gaining a kingdom. Medea’s excessive behaviour was a protest against her position as supportive wife when she found that Jason had neglected his obligation as a protective husband. Euripides’ tragedy was a rebellion against a cultural definition of men and women which did not work. Men were pressured into being the sole providers and authorities over a whole household, whereas women were relegated to the status of possessions. The situation generally suited men, but women were not given a choice of career and had their marriage prearranged by their fathers. More importantly they were not provided with an opportunity to voice their displeasure and were in the hands of fate, whether they attained a kind or a cruel husband. This study argues that by challenging the definition of heroes and victims, Euripides questioned the preconceived perceptions of the nature of women and foreigners. He was also commenting on social restriction and the possible consequences of restraining women’s behaviour and their opinions.
Prof. J.L.P. Wolmarans

Euripides’ Alcestis and Medea are plays about a woman of exemplary virtue and a woman of horrible vice, respectively. This thesis examines how both heroines have a subjectivity that is destructive because they are female, and which is expressed by making deals with men. Women’s deal-making is dangerous because it conflicts with a system of exchange exclusive to men, in which women function as objects of exchange which solidify men’s homosocial bonds. Alcestis’ and Medea’s deals with men disrupt these bonds. Alcestis’ dangerous subjectivity is contained when she is made the passive object of exchange between men, while in Medea’s case, the absence of deals between men allows the uncontained effect of her deal-making to destroy her family and community. Comparison of the plays shows that the suppression of women’s deal-making, and not the benign or malicious intent of the deal-maker, is crucial to the happy resolution of the play.

博士
淡江大學
英文學系博士班
95
This dissertation attempts to assert that Euripides poses as a poet to represent the topics of uncertainty, conflict, and madness. Here my study is to illustrate that Euripidean Medea and Hippolytus underscore a mostly intricate rendezvous of the Greek practice of parrhesia, the disturbing disunion on various potential possibilities, and the abiding occurrence of the female resistance and madness in a pallogocentric community as demonstrated in the plot development, central themes, and character portrayal. Foucault manifests parrhesia as the verbal activity of truth-speaking with the five major qualities of frankness, truth, criticism, obligation, and risk-taking. By discussing the concept and practice of the Greek notion of parrhesia, political or personal, I intend to investigate the word’s use in Hippolytus and Medea to shed new light on revealing the ambivalence of truth-telling and truth-hiding as well as the ambiguity of truth and falsehood in these two plays. In addition, by applying Hegelian concept of tragedy and the predominantly Greek gender protocols, I would demonstrate that Euripidean tragedy establishes the structure’s penchant: the tragic characters cling to the dominion of their fixed “pathos” (“the feeling soul”) from the outset in the confrontation of the painful Others, and entertain no absolute accommodation between the protagonist and the antagonist. Clearly, the obsessive natures of Medea and Jason or Phaedra and Hippolytus are formulated in irreconcilable opposition and hostile conforntations. Besides, by virtue of the Hegelian theory of madness, I would declare that the tragic heroine in madness is trapped between two centers of reality (the discord between the inner and outer worlds), and that the mad self disrupts herself to experience a double personality. Thus, we’ll see “a double doubleness”: a divided personality that compliments a divided world. Furthermore, in light of the polarized ideology of gender (the system of dualism), I argue that female public invisibility, negativity, suffering, and the Gestalt of despair in a definitively male-oriented world precipitate Medea’s and Phaedra’s desperate resistance against the cultural norms and their exerting the stratagem of passionate madness; it is a gesture of both protest and a healing recovery from the wounds and agonies of the spirit to articulate their demands for esteem and self-identity. The concluding part of this study suggests that Euripides has been both remote and contemporary. His eternal songs splendidly explore the radical disunion and darkening madness of female existence, which are elaborated with a timeless relevance of glorious struggle for survival and triumph.

Thesis (M.A.) -- Central Connecticut State University, 2007.
Thesis advisor: Louis Auld. "... in partial fulfillment of the requirements for the degree of Master of Arts in French." Includes bibliographical references (leaves 61-64). Also available via the World Wide Web.

碩士
國立中正大學
外國語文研究所
90
In this thesis, I want to compare Yang Xian-zhi’s Rain on the Xiao Xiang (Xiao Xiang Ye Yu), a Yuan za-ju, and Euripides’ Medea, a Greek tragedy. The themes of these two plays are about how their ungrateful husbands desert their wives. Do Yang Xian-zhi and Euripides write such plays on purpose? Do they just express their complaints or worries towards the problems of their societies? These issues will be covered in this thesis. The thesis is divided into five parts: introduction, three chapters, and conclusion. To know why these two plays share the same theme─deserted wife, I try to unearth the causes by detecting the historical contexts, the genres, the texts of the two plays, together with information on the playwrights. There, I expect to analyze Yang Xian-zhi’s and Euripides’ attitudes towards their societies and theatres. In chapter one, I discuss the influence of historical contexts on the genres Yuan za-ju and Greek tragedy, the texts and the playwrights. There, I expect to know if the social conditions of the Yuan and ancient Greece were reflected in these two plays. And chapter two serves a comparison of the women in fiction and in the real world. To reconstruct the figures of the Yuan and ancient Greek women, I want to see if Zhang Cui-luan and Medea are exceptional or typical of women facing marital problems just as they do in the real world. There, I expect to unearth the messages that the playwrights want to reveal through their plays. In chapter three, there are two issues─one is that the roles the male characters play in these two theatres, and the other is the playwrights’ attitudes towards their theatres and societies. On the one hand, to know how the male characters help their female characters with their marital problems or force them to surrender their claim to the justice, I try to analyze their personalities through the plays. There, I want to discuss the massages that the playwrights want to reveal through these male characters. On the other hand, considering the playwrights as political transvestites, I want to explain how the playwrights take the female characters as their mouthpieces and express their complains or worries towards the problems of their societies. In conclusion, I present what I found through the research in these three chapters. As a result, I found that there are not two but four “deserted wives” in these two plays. To present the problems of the Yuan regime, such as racism, social discrimination, the problem of corrupt officials and expectation for the return of the justice, Yang Xian-zhi took Zhang Cui-luan as his mouthpiece to show his complaints to the Yuan’s desertion. Euripides also took Medea as his mouthpiece to express how he worries about Athens’ future, just like Aegeus’, Jason and Medea’s bareness. In end of the play, Euripides also decides what he wants to do at last and shows his passive attitudes towards Athens: exiling himself. To express their complaints or worries towards the problems of tier societies, both Yang Xiang-zhi and Euripides in the plays act as political transvestites ascribing the problems of the yuan and the Athenian societies to “desertion.”

My purpose in this study is twofold. Firstly, I intend to examine the existence of honour in Greek society by an analysis of its presentation in works of Greek literature. In order to achieve this, I shall first examine the values of the Homeric, heroic society so that a picture of the code of honour that was used in those times, might be established. This code of honour provided the foundation upon which later honourable behaviour was based and from which it grew; it is, therefore, a necessary addition in a study such as this. Then, I shall proceed to a study of Euripides' Medea and Hippolytus, two plays that firmly incorporate the motif of honour and revenge. Secondly, I intend to examine a few examples of modern societies. The purpose of this is to ascertain whether any relationship between archaic, classical and contemporary cultures can be established. Shared values and beliefs will be examined in order to determine any possible similarities between cultures and societies that are chronologically separated by hundreds of years.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 1998.

Με μια αρχική επεξεργασία του θέματος της παρούσας εργασίας έγινε φανερό πως χωρίζεται σε δύο χρονικές περιόδους. Η πρώτη περίοδος εκτείνεται από τα μέσα του 19ου αιώνα ως το τέλους του ίδιου αιώνα(εδώ εντοπίστηκαν τρία έργα) και η δεύτερη περίοδος από τα μέσα του 20ου αιώνα περίπου(1959) ως τις αρχές του 21ου αιώνα(2007) (εδώ εντοπίστηκαν δώδεκα έργα) καταγράφεται αποδεδειγμένα ως η πιο δημιουργική περίοδος, ακόμη και αν θέσουμε ως κριτήριο το πλήθος των έργων. Η πρόσληψη δομών και σημαινόντων της ευριπίδειας δραματικής ποίησης θα αναζητηθεί με βάση όσους από τους τύπους διακειμενικότητας του Gerard Genette μπορούν να ανιχνευτούν στα εξής νεοελληνικά δραματικά κείμενα: Μήδεια του Ιωάννη Ζαμπέλιου(1860)-M1, To Ψέμα του Ιάσονα του Δημήτρη Χριστοδούλου(1959)-M2, Μήδεια (η οφιοπλόκαμη ερινύα των πόθων) της Μαρίας Κέκκου (1990)-M4, Μήδεια του Μποστ (Χρύσανθος Βοσταντζόγλου ή Μποσταντζόγλου) (1993)-M6, Μήδεια του Βασίλη Γκουρογιάννη (1995)-M7, Μήδεια, του Βασίλη Ζιώγα(1995)-Μ8, Στον αστερισμό της Εκάτης-(Θεατρικά έργα και μονόπρακτα) του Κωνσταντίνου Μπούρα(1997) α. Η Μήδεια στην Αθήνα του Κωνσταντίνου Μπούρα (Μονόπρακτο) (1997)-Μ9 και β. Το τέλος της Μήδειας(Τραγωδία) του Κωνσταντίνου Μπούρα (1997)-Μ10, Μήδεια αυτοπυρπολούμενη του Ντίνου Ταξιάρχη(2006)-M11, Backstage (Παρασκήνιο) της Άννας Μαρίας Μαργαρίτη(2007)-M12, Η άλλη ΜΗΔΕΙΑ του Βασίλη Μπουντούρη (1990)-M5, Ποιος σκότωσε τα παιδιά της Μήδειας του Χάρη Λαμπίδη(1984)-M3. Αν ξεκινήσουμε από τον κανόνα της Kristeva πως κάθε κείμενο με βάση το φαινόμενο της διακειμενικότητας «είναι ένα μωσαϊκό από αναφορές σε άλλα κείμενα, μια απορρόφηση ενός άλλου κειμένου», κατόπιν μπορούμε να επεκταθούμε και στην κατά Riffaterre θέση, η οποία υπογραμμίζει την ανάγκη αναζήτησης ενός διακειμένου ώστε να ολοκληρωθεί η οποιαδήποτε λογοτεχνική προσέγγιση κάθε κειμένου. Τα επίπεδα πρόσληψης θα αναζητηθούν μέσα από τα στοιχεία(δομικές, νοηματικές και δραματικές μονάδες) που διοχετεύονται από τη Μήδεια του Ευριπίδη (Μ) στα διακείμενα (Μ1 έως Μ12) νεότερες Μήδειες ή και όχι υποχρεωτικά Μήδειες ως προς τον τίτλο. Κατόπιν θα εξεταστεί η αυτούσια (λογοκλοπή-plagiarism) μετάγγιση στα νέα έργα στοιχείων του (ΜΕ) ή η μεταλλαγμένη παρουσία τους καθώς και σε πιο βαθμό διατηρούνται ή αλλάζουν τα μυθολογικά μοτίβα, θέματα, πρόσωπα και ο δραματικός χώρος των δραματικών κειμένων με καταγωγή από την πλατφόρμα πάνω στην οποία κυριαρχικά τοποθετείται η Μήδεια του Ευριπίδη.
Initially as a treatment of the subject of the present work it became obvious that it is separated in two time periods. The first period is extended by the means of the 19th century until the end of same century (where located three plays) and the second period from the means of the 20th century roughly (1959) until the beginning of the 21st century (2007) (where twelve plays). Where located evidentig the most creative period, even if we place as criterion the number of plays. The engagement of structure and meaning of the Eurepides’ dramatic poetry it will be sought with based those on types of Gerard Genette’s intertextuality can be detected in the following Modern Greek dramatic texts: Medea by Ioannis Zambelios(1860)-M1, The Jason’s lie by Dimitris Christodoulou(1959)-M2, Medea (the shake of desnes) by Maria Kekkou (1990)-M4, Medea by Bost (Chrissanthos Vostantzoglou or Bostantzoglou)(1993)-M6, Medea by Basilis Gourogiannis(1995)-M7, Medea by Basilis Ziogas (1995)-Μ8, In Ekates’ constellation-(Plays and one act plays) by Konstadinos Bouras (1997) α. Medea in Athens by Konstantinos Bouras(one act play) (1997)M9 and b. Medea’s end (Tragedy) by Konstantinos Bouras (1997)-Μ10, Medea self-burned up dy Dinos Taxiarchis(2006)-M11, Backstage by Anna Maria Margariti (2007)-M12, The other Medea by Basilis Boudouris(1990)-M5, Who killed Medea’s children by Harry Labidi (1984)-M3. If we start with the rule of Kristeva that each text based on the phenomenon of intertextuality «it is a mosaic of reports in other texts, a absorption of another text », then we can extend oneself also in the Riffaterres’ place, which underlines the need of search of intertext so that is being completed the any literary approach of each text. The levels of engagement will be sought through the elements (structural, meaning and dramatic units) that are channeled by the Medea of Eurepides’(ΜΕ) in intertexts (from Μ1 to Μ12) modern plays named Medea or even no necessarilly Medea as for the title. Then it will be examined self-same (plagiarism) transfusion in his new work of elements (ΜΕ) or their mutant presence as well as in what degree they maintain or change the mythological patterns, subjects, persons and the dramatic space of dramatic texts with originate from the platform above in that sovereign it is placed the Medea of Eurepides.

Greek tragedy portrayed the husband and wife relationship as fraught with hos¬tilities and ambivalences. The purpose of this mini-dissertation is to examine these dysfunctions, and to explain them. I have approached the problem from several important angles. I have begun with selected aspects of Athenian Mythol¬ogy and the foundation myths of Athenian culture to see whether there are recur¬rent themes that attest to inherent ambivalences and hostilities towards women within the mythological heritage of Athens. This approach is based on two as¬sumptions: first, that the dynamics of interpersonal relationships portrayed in mythology and literature tend to mirror the modal patterns of cultures and sec¬ond, the experiences of these modal patterns are the inspiration from which a culture draws its mythmaking. I then examine the context of the production of tragedy within the religious framework of the festival of the Greater Dionysia so as to establish a theory of the nature and function of Greek tragedy. The purpose of the second focus is to see whether there are connections between the workings of Greek tragedy and the thematic material it portrays. I have chosen four Greek tragedies within which to explore marital dysfunctions: Aeschylus’ Agamemnon, Sophocles’ Ajax and The Women of Trachis, and Euripides’ Medea. I have un¬der¬taken a close reading of the original texts and commentaries as well as a close reading of comparative translations of the texts for the purpose of this study. My explorations reveal that Athenian society was aware of the risks of the dire imbalance prevailing within their social order, which was created by such a fero¬cious suppression and derogation of half their members. In addition this imbal¬ance was redressed on a continual basis by the production of and through com¬munal participation in tragedy in its function as a ritualistic mechanism for ca¬thartic relief. Thus I conclude that the production of tragedy served to reaffirm the status quo. Tragedy provided a process for the de-structuring of familial and social order first and then sought and promoted a process of psychological restructuring and re-integration. This occurred through the empathetic workings of Catharsis or pur¬gation of negative emotions or feelings of guilt. The cathartic effects of tragedy were designed for men. As a collective therapeutic action it confirmed the male dominated order of society and reaffirmed the Athenian perception of a dualistic reality in the form of irreconcilable opposites: theatre versus life and female ver¬sus male. Tragedies were written by men and performed by men and thus we can expect all symptoms, signs and symbols of male and female conflict to be the products of the masculine psyche.
Prof. J.L.P. Wolmarans

The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metatheatrical language. This dissertation seeks to establish a new approach to ancient dramatic song by demonstrating that the linguistic pitch accents of tragic lyrics often trace the melodic contours of their lost musical settings. In the papyri and inscriptions that preserve music notation alongside Greek lyrics, intonation and melody are often coordinated according to set principles, which are well established by previous scholarship. Through the creation of software that applies these historical principles to tragic texts, I demonstrate that stanzas sung to the same melody are significantly more similar in their accentual contours than control groups that do not share a melody. In many instances, the accents of these paired texts consistently trace the same pitch contours, allowing us to reconstruct the shape of the original melody with a high degree of confidence.After a general introduction, the dissertation’s first two chapters address the historical basis for this approach. Chapter 1 reviews the evidence for the musical structure of tragic song, confirming the widely held view that paired stanzas were generally set to the same melody. Chapter 2 turns to the evidence for the role of pitch accents in ancient Greek song, including the ancient testimony and musical documents, and a computational study of accent patterns across all the lyrics of Aeschylus’ surviving tragedies. The methodology developed in these first two chapters is applied in two case studies, in which I reconstruct and interpret the accentual melodies of select tragic lyrics. Chapter 3 analyzes the musical design of the chorus’ entrance song in Aeschylus’ Agamemnon, along with sections of the Kommos from Choephori. In both cases, I argue, melody would play an integral role in highlighting the themes of repetition and reversal within the Oresteia. Chapter 4 turns to the music of Euripides’ Medea, a play that has been central to previous discussions of accent in tragic music. Reading the lyrics and accentual melodies within the framework of musical history as understood in the fifth century bce, I argue that Euripides uses a contrast between ‘old’ and ‘new’ melodic styles to position his chorus at a turning point within literary history. In the dissertation’s final chapter, I address the reception of Medea’s music in a fragmentary comedy, the so-called Alphabet Tragedy of Callias. Together, these interpretive chapters provide a template for future work applying methods of musical analysis to the accentual melodies of ancient Greek song.

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The fragmentary Euripides’ tragedy Aegeus is the subject of this work. For methodological reasons it is dividet in two parts. The content of the 1st part is the examination of the Aegeus’ myth. In particular there are stydied the following themes: the Aegeus’ and Theseus’ myth before Eyripides and the mythological background, the myth in Euripides and his relation to the tradition, the myth in attic drama and latine literature. The date, the plot reconstruction, dramatis personae, the possible main and other themes are examined too. There is also referrens in matters of dramatic technic and structure such as prologue, divine interventions, messenger speech and recognition.The 2nd part includes the commentary of the extant 13 fragments of the tragedy according to R. Kannicht’ numbering.