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The article focuses on the destructive and dual nature of feminine wrath as represented through mythological figures such as Sekhmet, Medea, and Penthesilea, exploring how their anger drives them to acts of vengeance and destruction. It delves into how this theme of wrath is mirrored in real-world social movements, such as the French "yellow vest" protests, and the uncontrollable, sometimes chaotic force of collective anger, which can disrupt societal norms and ignite political change.

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The story of Medea's murder of her own children to gain revenge against their faithless father has been tackled from many angles by playwrights and directors from Euripides' time to the present. In recent years, due to highly sensationalized, real-life cases of mothers murdering their children, it has become fodder for sociologists, criminologists, psychologists, and feminists. Many recent productions (both original plays and directorial approaches to Euripides' original) have avoided tackling the difficult questions raised by Euripides' ending, which demands an answer to the following question: how could the gods send down a dragon-drawn chariot to rescue a woman who murdered her own children? Many contemporary authors and directors prefer to eliminate Euripides' ending in order to focus on more immediate issues, such as the psychological or social damage resulting from patriarchy, colonialism, and misogyny. After considering several such productions, this article analyzes three plays that directly tackle Euripides' troubling ending: two original scripts, by Heiner Müller and Carol Fisher Sorgenfrei respectively; and a production of Euripides' original by Japanese director Miyagi Satoshi. Carol Fisher Sorgenfrei is Professor Emerita of Theatre at UCLA. An expert on postwar Japanese and cross-cultural performance, she is also a translator, director, and playwright. The author of Unspeakable Acts: The Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii Press, 2005) and co-author of Theatre Histories: An Introduction (third edition, Routledge, 2016), she has published over a hundred articles, chapters, and reviews. She is an Associate Editor of Asian Theatre Journal and a Fellow of the College of Fellows of the American Theatre. [ABSTRACT FROM AUTHOR]

The article argues for a reading of Medea that focuses on the ways that the faithful production of reiterative marital acts on the part of women, especially marginalized women, does not guarantee fidelity. It further draws inspiration here from Frederick Guy Butler's work where Butler emphasized the idea that kinship is not simply a static state based on parentage, but a matter of continued practices that establish and maintain bonds between people.

The article presents information about professor J.J. Hartman, who was credited as the first scholar to suggest that Ovid's exile to Tomi was completely fictional. It mentions that Modern scholars who mention Hartman's thesis, rarely do so by quoting him directly: they appear to take notices from earlier sources; and Ovid's choice for a location close to the Black Sea, according to Hartman, is only an allusion to the Medea storyline.

This paper explores the use of contemporary music as a vehicle for helping students engage more meaningfully with ancient texts, particularly dramatic texts. Particularly, contemporary music can help students engage in meaningful conversations around the difficult topics that the figure of Medea raises, moving them beyond a simple focus on her status as a child-killer. Ultimately, this article argues for the value of Classics in encouraging thoughtful dialogue around sensitive issues in the modern day, possibly helping students think about their own world in more nuanced and complicated ways. [ABSTRACT FROM AUTHOR]

The article offers information related to the Acrostic in Author, Apollonius of Rhodes. It mentions that meanings are equally appropriate to dealings with Medea and that Castelletti still entertains a degree of doubt as to the intentionality of acrostic. It also mentions dictionaries cannot make up their minds about the meaning in the first line of the tetrastich.

At Argon. 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 the Argonautica and the future Medea, one whose actions are already well known from such works as Pindar's fourth Pythian Ode and 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. [ABSTRACT FROM AUTHOR]

The definition of heroism is contested within the psychological literature, with some suggesting that a formal definition is unfeasible. Following these suggestions, to help clarify what is understood by “heroism,” I critique three potential understandings of heroism drawn from recent psychological work on heroism. In the first critique, I discuss the notion of heroes as displaying certain characters traits, or strengths. In the second, I argue that heroic action cannot be defined by its consequences. In the final critique, I explore whether heroism can be evaluated by the authority an actor supports or opposes. These critiques use Sophocles’ Antigone and Euripides’ Medea as their examples to show that these three understandings cannot express what is heroic about Antigone and not heroic about Medea. I suggest that, instead, the designation “hero” should be understood as an ethical evaluation of the person so designated. [ABSTRACT FROM AUTHOR]

The short, moving song heard from Gretchen at the spinning wheel connects her fate to a series of epic women, The tragic stories of Medea, Ariadne and finally Mary provide illuminating contexts for what Gretchen tells in Faust. [ABSTRACT FROM AUTHOR]

In her latest book of poetry, Belgian-born Spanish writer Chantal Maillard offers an interpretation of the Greek myth of Medea that deconstructs guilt by merging its individual, exceptional dimension into the common, universal one. The book appears therefore as an extension aiming to explore the very areas of the myth that have remained untold, at the crossroads with Maillard's own poetics and cognisance. [ABSTRACT FROM AUTHOR]

This Latin American Medea plunges us into the well-known classical Greek myth from a novel approach. The Cuban writer Roberto Viña redefines the heroine's voyage with the Argonauts from the moment of her escape from her native Colchis. That is why Viña fragments the myth and focuses his tragedy on the sorcerer's maritime itinerancy that bears another nomination. Thus we identify the ethos of an ambivalent woman, peculiarly shy, and yet able to commit fratricide. Within the framework of the literary reception studies, we will analyze the expressions of extreme violence perpetrated by the characters of this play from very dissimilar perspectives. [ABSTRACT FROM AUTHOR]

The mythic character of Medea is an atypical figure, embodying two conflicting narrative roles. As a priestess, she provides Jason with magical aid in his quest for the Golden Fleece, conforming to the archetype of the mentor, or magical helper. However, as princess of Colchis, she becomes Jason's love interest and wife. These two character moulds indicate Medea's role as a character that is wholly dependent upon the male protagonist, but this is resisted. Medea displays that she is in constant conflict with her identity within her story arc. Several versions of the Medea myth depict a series of attempted departures from her structural role, showing Medea as displaying individual autonomy even as she seeks to achieve acceptance within a community. Her selfhood fluctuates, composed through violence and sacrifice, as she transitions from a spiritual identity to a mortal one and back again. This chapter discusses the structural role of Medea as a narrative archetype and her attempts to subvert and reposition herself outside the confines of traditional and teleological narratives. This will entail a reading of Euripides' Medea, extending to Ovid's account of her in his Metamorphoses, and to a modern retelling of the myth in Pier Paolo Pasolini's film Medea. Each of these versions highlights the tools of ritual and sacrifice that Medea uses to achieve her transformations and by which she is vilified. Ultimately, this chapter addresses how Medea's liminality and transgressive acts reveal the desire for self-formation and the limitations of that desire. [ABSTRACT FROM AUTHOR]

This paper reviews the ancient traditions about Colchis. It considers the legends of the Argonauts and the Golden Fleece, of Medea and the plant lore which is well established in Georgia. Many remedies and poisons are native to the area. Hippocrates is said to have visited Colchis to study local healing traditions, describing the country, with its rich flora and fauna as well as its diseases. Thus, Medea can be considered a pioneer of cosmetics, haematology, surgery and toxicology leading the way for the development of modern medicine. [ABSTRACT FROM AUTHOR]

In all art forms, Medea is mainly represented as the tragic witch from Colchis (contemporary Georgia), who slaughtered her sons and killed her erotic rival Glauke and her father, King Creon of Corinth, by offering an elaborate poisonous nuptial garment. Euripides described the victims' symptoms as a sudden extreme inflammation, leading anyone coming into contact with the garment to death. In other versions, the inflammation is described as pure fire. The symptoms resemble what current medical knowledge describes as an immune contact sensitivity reaction. The passages with medical interest from the opera based on this tragedy are presented in the original musical form as well as some similar film and theater scenes. Magnified images of harmful insect's Medea's nuptial gifts are shown and their action is discussed. [ABSTRACT FROM AUTHOR]

The article explores the connections between magic and medicine in Middle English literature by looking closely at Greek mythological character Medea's healing magic in the "Tale of Medea" through medicine. Topics include how English poet John Grower thinks of age in medical and textual germs based on his work "On Tarrying the Accidents of Age" and the poetics of rejuvenation in Gower's poem "Confessio."

In this article, it is carried out a study of the character of the mother in the plays of Euripides, one of the most important tragedians of the classical culture. It is seen, from the prosophographic and etopeica characteristics of Hecuba, Medea, Andromache and Etra, constant and most significant changes for defining how he designed the character of the mother and his mark on the edeotetico development of the works analyzed: Las troyanas, Hécuba, Andrómaca, Las suplicantes y Medea. The content analysis of each word is used as a method to elucidate the personological aspects that distinguish the selected characters. This work contributes to develop studies about philology and classical tradition, as part of the scientific research project on the theme that runs the author. [ABSTRACT FROM AUTHOR]

Seneca accentuates Medea's cruelty. The hostility manifested by the chorus is determining for the new construction of this character. In particular, it is very interesting the way in which Medea commits infanticide, through the rejection and disavowal of her children. [ABSTRACT FROM AUTHOR]

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The article focuses on the textual healing of the poem "Confessio Amantis" by John Gower. It mentions the deep investment of the poem in both personal and public healing, the importance of the character Medea, a sorceress, in one of the tales for her rejuvenating effects and the narration of the exercise of rejuvenation in the tale.

Act I, II, and III of the play "Medea" by Euripides are presented.

Playing upon a mythological tradition rich in terrible, ruthless, and powerful females--many of whom were actually bestial--Euripides chose perhaps the most horrible of all, at least to fathers, the teknophonos (the child-killing mother), as the central character of his play Medea. Medea has been considered, in Euripides's portrayal as well as more generally, an archetype of the Terrible Mother. Whatever the relationship between the psychoanalytical category of the Terrible Mother and the several female monsters of Greek mythology, an appreciation of the motif as a source of male anxiety, to say the least, provides a framework of analysis for one of the central ideas of Medea: the capacity of women for ferocious and violent acts, including becoming a teknophonos. Medea illustrated this capacity for transformation in a peculiarly rich and complex way. No Grendel's Dam, she had semidivine status, became a devoted wife and mother, and lived as a human, notwithstanding her violent acts on behalf of Jason, her eventual husband. Under provocation, she resumed her divine powers, expressing them with horrific effect and to her great joy. With great reluctance and regret, she achieved her apotheosis by the sacrificing of her beloved sons to herself. Thus, the granddaughter of Helios became the Goddess of the Lost Synthesis. [ABSTRACT FROM AUTHOR]

The Medea complex refers to a disturbed mother-child relationship with obvious destructive aspects, and it evokes a central theme that Jung articulated in his writing about the Terrible Mother. The best-known story of Medea is based on the mythical figure portrayed in Euripides's fifth-century BCE play. The complex, as well as this story, includes elements of betrayal, abandonment, stealing, and vengeance directed at helpless children. Two case examples discuss how the Medea complex appears, first in a parent and second in a son. Maternal and paternal roles in the complex are considered as well as the symbolic implications of killing children. The complex is also examined through interrelated literary and historical depictions of the dangerous feminine as foreign queen from Apollonius, Virgil, and Shakespeare. [ABSTRACT FROM AUTHOR]

Only recently, gender was taken as an analytical category which provided studies on the relations between men and women. We developed an analysis of Medea relating it to concepts of feminism, power relations and gender plays. Within this tragedy we could illustrate the paradoxes of being a woman in the society, and some metaphors on situations of subordination, realizing the existence of power games between male and female, nonlinear sociohistorical constructs. Analyzing the astuteness with which Medea played the gender play we wonder about the tools used today, pointing out to some clues that prompt us to investigations on the updatings about the gender plays in everyday interrelationships. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A critique of the play "Médée" by Jean de la Péruse, with a focus on the political nature of French tragedy, is presented. Topics include La Péruse's reimagining of the tragic character Medea, the discussion of the political implications of oaths in the book "II sacramento del linguaggio," which translates to "The Sacrament of Language," by Giorgio Agamben and its relationship to the oaths in "Médée," and the possible writing of the play as an exercise in style, or exercice de style.

This article examines the implications Medea has for the witch Canidia in Horace's Epode 5. Although Medea employed magic to kill Jason's new bride Creusa, she never used erotic magic and instead murdered her children to enact her revenge. Via references to Medea's nonerotic magic (Creusa's gifts, 5.61–66) and parallels between Medea and Canidia (abandoned by their lovers, they resort to child-murder), Horace reveals that Canidia is an ineffectual practitioner of erotic magic, explaining why her lover has not returned, and an anti-mother figure, suggesting that she will kill the boy she has kidnapped for a new love potion. [ABSTRACT FROM AUTHOR]

Medea kills. But why? For her murders, mythological sources provide plenty of explanations: She kills as an abandoned wife, as a vengeful princess, as an insane melancholic person, or as a hurt woman. Yet, these attempts to locate her motivation in a social, political, psychological, or even biological sphere don't do Medea justice at all. Instead of locating her motivation in one of these categories, I will develop Medea as a transgressive figuration of the in-between, that is: a figuration that cannot be located in one category or the other and I will consider the murders of Euripides' Medea as a catalyst that is capable of setting this figuration in motion. Whenever Medea kills, she can indeed be located in a category. Yet, as soon as each murder makes the process of localization possible, the figuration of Medea has already moved into another in-between. [ABSTRACT FROM AUTHOR]

Myths have remained popular in every field of art since ancient times till today. Lilith, who is mentioned as the first wife of Adam in Sumerian mythology, revolts against patriarchal structure, but is labelled as child killer in following generations and thus punished by patriarchal culture. Frequently encountered in literary works, Lilith is regarded as the first woman who started the war between woman and men by the feminists. Lamia and Medea, the two mythological figures who share the some destiny with Lilith have also been accused of child killing and punished by the patriarchal society because of their revolt against patriarchal structure. It is examined in this study how the norms as imposed to women by the patriarchal structure and those who challenge these norms are shaped and how these are reflected onto myths. The traces of the revolt by Lilith, who is considered to be first women to start the gender conflict between men and women, are followed in the study of this myth. In addition, the figures of Lamia and Medea in Greek myths are mentioned as they are found in the myths and their truthfulness is explored. It is detected in the study that the position of women has not changed in much myths as in real life. [ABSTRACT FROM AUTHOR]

Copyright of Ricoeur Studies / Etudes Ricoeuriennes is the property of University of Pittsburgh, University Library System and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An introduction is presented in which the editor discusses various reports within the issue on topics including the statue of Marsyas and Columna Maenia monuments, characterisation of heroines Medea and Hypsipyle, and methods of poet Lucretius used in representing the un-representable.

Copyright of Synergies Monde Méditerranéen is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article critiques the film "Medea," directed by Pier Paolo Pasolini and based on the Greek mythology. The author expresses his dislike for the movie in terms of the film's narrative qualities, its lack of foreshadowing and suspense, and the director's choice to omit or double events. He analyzes several scenes in the movie, discusses continuity errors, and examines the film's use of sexual expression.

This article places renewed emphasis on the gender and racial dynamics in José Triana's Medea en el espejo (Medea in the Mirror; Havana, 1960) by examining its relationship to Lucius Annaeus Seneca's Medea, a major source of inspiration for the Cuban dramatist that has been overlooked in contemporary scholarship. It demonstrates that Triana appropriates the image of Medea as a vengeful witch from the Roman text and accordingly constructs a heroine oscillating between antithetical subject positions: man and woman, master and slave, self and other. Situating the play in its sociopolitical context, the article argues that the indeterminacy of Triana's heroine, a mulata named María, for artistic and cultural reasons, is symptomatic of Cuba's liminal position and the collapse of hierarchical distinctions with the advent of the revolution in 1959, a temporal border that marked the beginning of a new era and caused the blurring of social boundaries. Triana, I conclude, revisits the myth of Medea and uses it as a vehicle for raising questions about the abuse of power and the continuous suppression of black agency under Castro. [ABSTRACT FROM AUTHOR]

This article argues that proxemics (including blocking) and kinesics, a relatively understudied aspect of ancient Greek performance, is paramount for understanding Euripides' Medea and especially a fundamental structuring principle of this play, namely the symmetrical juxtaposition of scenes. Euripides' Medea realises a kind of theatrical narrative, which turns on mirroring, and thus on a palindromic rather than a linear flow of the action, belying the Aristotelian preference for a plot unfolding strictly κατὰ τὸ εἰκὸς καὶ τὸ ἀναγκαῖον and implicating the spectator in the meaning-creating process. The proxemic code, it is argued, is of paramount importance for establishing structural and thematic parallelisms between scenes, all the more so in the three successive encounters of Medea and Jason, which are the main concern of this article. The vertical axis is especially crucial here. It becomes ever so loaded, insomuch as the high/low code is further charged by two emblematic discourses of Greek culture, which are largely played out in spatial terms, namely the public interface of male and female, and the ethics of supplication. [ABSTRACT FROM AUTHOR]

The essay focuses on poet Augusta Webster. How she challenged the boundaries between public and private writing, idea of separate, gendered social spheres in the Victorian literary period, and adaptation of Greek literature and mythology in her writings is discussed. The female personas in her poems "Medea in Athens" and "Circe" are discussed in relation to their mythical counterparts. The 19th-century female identity and use of poetry as a social catalyst are noted.

A literary criticism of the book "Cynthia: A Companion to the Text of Propertius," by Stephen J. Heyworth is presented. It explores the implications of magic and witchcraft which focuses on the symbolic significances of Cytinaeis, the protagonist of the story. It compares the character of Cytaeines to Medea, powerful sorceress in Greek mythology.

Greek tragedy is considered to have served as a way for men to explore the feminine. But women in Euripides' tragedies are more than mere representations of what the consequences of the trespassing of the cultural determined limits of womanhood may be. Alcestis', Medea's and Phaedra's cases show that a woman's identity can only be defined through her husband. All tentative to solve the tensions within the role of a wife and a mother are bound to fail, as this cannot be done outside the cultural assigned model of what a woman is. Once this model is challenged, the woman is subject to a deconstructive process, turning into a depraved and murderer figure. [ABSTRACT FROM AUTHOR]

The article focuses on the verbal autonomy and verbal self-restraint in Euripides' Medea. It mentions that the verbal cunning that it uses to make her revenge is a characteristic that aligns well with Greek assumptions regarding the deceptive nature of women. It notes that the use of deceptive language can be believed of as typical of her gender.

This article combines a literary analysis of Medea's dream (A.R. 3.616-35) in terms of Homeric models with a consideration of developments taking place in post-Homeric dream theory. Nausicaa's dream is generally considered the primary influence for this passage, but Medea's psychological characterization owes a great deal more to Penelope and her conflicted emotional state. As an adaptation of Penelope's psychological dilemma, Medea's dream is grounded in the originally Platonic notion that an irrational disposition can cause shameful dreams. The influence of this idea on Apollonius most likely came through a Stoic channel and enabled Medea to be presented negatively in terms of specific irrational passions. Medea's dream should thus not be thought of as inspired by the gods in the strict Homeric sense but as a manifestation of her brewing passion, which enables the gods to intervene indirectly. [ABSTRACT FROM AUTHOR]

The article presents the study which dealt with the three escape choral fantasies featuring the Euripidean choruses, such as the Hippolytus 732-75, the Medea 824-65, and the Bacchae 370-433. It states that the passages had aesthetic function to manipulate the mood of the audience which can cast new light in understanding plays. It reveals the erotic implications of the odes that enhanced one's interpretation of how sexual desire and Aphrodite were presented.

The article presents an analysis of the real reference and identity of the phrase magna perseis which is depicted in the conversation between Venus-Circe and Medea in the Book 7 of the epic poem "Argonautica," by Valerius Flaccus. It cites the scene where Venus disguised as Circe when she visited Medea to persuade Medea to help and marry Jason. It explores the possibilities that the phrase might refer to Perse, the grandmother of Medea or to Hecate, the daughter of Perses. Nevertheless, it highlights the argument that the phrase refers to Circe based on the implied quote of Medea in which she said that she would not follow the footsteps of her aunt Circe whose married life became miserable with a local man.

The author presents her views on the religious and historical aspects of Euripides' aetiology for Medea's children. She focuses on the Greek culture in which the practice of tomb- and corpse-violation and beliefs in spirits exist as seen in an analysis of Medea's enemies in the play. She argues that the action of Medea can be deliberately compared to that of her predecessor on the Athenian stage.

The article examines the primary role of women in Archaic and ancient Greek lamentation and funeral ritual, particularly the Athenian. The author comments that evidence for female participation in private Greek death ritual was privileged because it provides something to say about women. He focuses on the aspect of responsibility for and management of the performance of funeral rites and referred to three female heroines featured in Greek tragedies including Klytaimestra in Aeschylos' "Oresteia," Medea in Euripidies' "Medea," and Antigone in Sophokles' "Antigone." However, the author argues that the three heroines' actions do not evidently support consumption of females' control in funeral rites in the ancient Greek.

The article examines the persistence of the myth of Medea and its ideological implications in the poetry of Irish poets Mary O'Donnell and Eavan Boland. It explores how the myth addresses the complex ambivalence of motherhood, which covers the naturalness of women's role in the private sphere as wives and the resistance to cultural assumptions on sex, gender, nation, and women's writing. It analyzes the overt violence that underlies Boland's "In Her Own Image," which was intended to counter traditional notions of femininity and motherhood.