937 research outputs found
Il mito di Medea
No full textL'intervento traccia la storia del mito di Medea nell'antichità, con particolare riguardo al teatro e all'epica ellenistica
Virgo, coniunx, mater: The Wrath of Seneca's Medea
No full textSeneca's Medea carries out a plan of revenge that follows a retaliation mechanism inspired both by fury and by an established principle of reciprocity. This principle follows the rules, described in Seneca's De ira, of revenge aroused by anger. Medea had earlier been guilty of crimes against her own family, in order to assist Jason; she now maintains that she has fallen victim to the very same offenses. Therefore she now resolves to perpetrate similar crimes upon the husband who has decided to leave her. In retaliation for the loss of her father's kingdom, of her brother Absyrtus, and of her own virginity she now kills Creon and his daughter, as well as her own children. Medea can thus create a fictitious link between the parts of her identity (her life as a virgo and her life as a rejected coniunx/mater) that have been thrown into disarray by her separation from Jason. In fact, the crimes she commits as a wife, in order to get rid of Jason, are just the inexorable consequence of the crimes she had committed as a girl, in order to join him. The separation which thus comes about conforms to the rules of a normal Roman divorce: the wife leaves her husband's home as well as her children, but her dowry is returned to her. Towards the end of the tragedy, Medea goes so far as to say that she has retrieved the 'dowry' of crimes she paid in order to become Jason's wife, since she has recovered her father's kingdom, her brother, and her virginity as well. This is no more than a wild illusion, but in considering its elaborate rhetorical form we gain an idea of the kind of balance which is the aim of Seneca's Medea as she accomplishes her revenge
Medea or the disorden in Neil Labute's "Medea Redux"
No full textEn el marco de las investigaciones sobre la recepción de Medea en la literatura y las
artes, el presente artículo presenta un estudio de la obra teatral Medea Redux,
reescritura de la Medea de Eurípides del controvertido dramaturgo norteamericano
Neil Labute (1999). Mediante un análisis comparativo entre los textos de ambos
autores se estudian los procedimientos mediante los cuales Labute se "apropia" del
mythos antiguo, para concluir sobre qué aspectos interesan al dramaturgo
contemporáneo y en qué ámbitos innova, tanto en lo que se refiere a la propia
narración del relato mítico y a la caracterización de los personajes, como a la
eliminación o conservación de ciertos aspectos formales presentes en la tragedia
antigua. Igualmente se establece una conexión entre el teatro de Labute -en Medea
Redux pero también en Helter Skelter, pieza de 2008 inspirada igualmente en Medea y el trasfondo moral de la tragedia euripidea.Within the research on reception of Medea in Literature and Art, this paper studies the
play Medea Redux, a recreation of Euripides' Medea by the controversial American
playwright Neil Labute (1999). Through a comparative analysis between Labute's and
Euripides' texts, the procedures followed by Labute to 'appropriate' the ancient
mythos are studied, in order to conclude on the aspects that interest the modern
author and on the areas in which he innovates. This is done both in terms of the
mythical story itself and the characters, and in terms of the elimination or
conservation of certain formal aspects of the ancient tragedy. A connection is also
established between Labute's theatre (in Medea Redux but also in Helter Skelter, a
2008 play also inspired by the Greek Medea) and the moral background of the
Euripidean Tragedy
Ut Medea Peliam concoxit... item ego te faciam. La Medea di Plauto
No full textNell'articolo si indaga sulla presenza della figura e dell'immaginario di Medea nell'universo comico plautin
Las caras de Medea: pensar el mito a través de la tematología
No full textMedea is an emblematic figure of mythology, that is mostly remembered as a filicide, because she killed hers and Jason’s children, as well as for being a sorceress. There are different versions of Medea, from Greek tragedies to tragic or even melodramatic films. This text explores his figure and some representations and reworkings that she has had over time. From a thematology perspective, some faces of Medea are analyzed: the works Medea by Euripides, Medea by the Danish filmmaker Lars von Trier and Malintzin. American Medea by the Mexican author Jesús Sotelo Inclán.Medea es una figura emblemática de la mitología griega, a la que se le recuerda principalmente por filicida, al matar a los hijos que tuvo con Jasón, así como por hechicera. Existen distintas versiones de Medea, que van desde tragedias griegas, hasta películas trágicas o incluso melodramáticas. En este texto se explora su figura y algunas representaciones y reelaboraciones que ha tenido a través del tiempo. A partir de la tematología, se analizan algunas fases o caras de Medea, con las obras: Medea de Eurípides, Medea del cineasta danés Lars von Trier y Malintzin. Medea americana del autor mexicano de Jesús Sotelo Inclán
John G. FlTCH (Ed.), Seneca. Hercules. Trojan Women. Phoenician Women. Medea. Phaedra.
No full textRochette Bruno. John G. FlTCH (Ed.), Seneca. Hercules. Trojan Women. Phoenician Women. Medea. Phaedra.. In: L'antiquité classique, Tome 72, 2003. pp. 408-409
MEDEA adapted: the Subaltern Barbarian speaks
No full textThis thesis examines three contemporary adaptations of Euripides’ Medea which reveal her as the ultimate subaltern heroine who comes face to face with imperial colonialism and through direct confrontation both regains her cultural identity and acquires a voice. In each adaptation Medea becomes Spivak’s barbarian subaltern Other and speaks. The plays examined are Heiner Müller’s Despoiled Shore Medeamaterial Landscapes with Argonauts (1983), Guy Butler’s Demea (1990) and Olga Taxidou’s Medea: A World Apart (1995). These plays were utilized as political texts in various postcolonial situations, and employed anti-imperialist discourses to adapt and appropriate the classical Medea as a postmodern, postcolonial protest narrative. A close reading demonstrates that Medea is Euripides’ quintessential tragedy of alterity and each adaptation raises issues of cultural and sexual difference, hegemony, as well as the colonial encounter within their own cultural and historical context. The key purpose of these adaptations is to shed an alternative light on Medea’s act of infanticide, and turn it into an act not against her children, or Jason as the individual who did her injustice, but against the hegemonic structure which allowed that injustice to happen and which she seeks to subvert
Medea, Noxium Genus – A Legal Reading of Seneca's Medea
No full textAn alternate reading from the line 179 from Medea of Seneca under Roman Justice procedural focus, attached to the various juridical dispositions concerning the actiones no-xialis, allows the enlargement of the comprehension of the tragic protagonist rule. In this new translational possibility, Medea acquired, in very clear way, the role of the wronged, enhancing Jason’s treachery and Creon’s tyranny. On the other hand, this procedural reading of the literary text of Seneca still allows the perception of the practice of contaminatio realized by the author, who updated the Greek narration to the Latin reality by means of its juridical adequation to the Roman reality.An alternate reading from the line 179 from Medea of Seneca under Roman Justice procedural focus, attached to the various juridical dispositions concerning the actiones no-xialis, allows the enlargement of the comprehension of the tragic protagonist rule. In this new translational possibility, Medea acquired, in very clear way, the role of the wronged, enhancing Jason’s treachery and Creon’s tyranny. On the other hand, this procedural reading of the literary text of Seneca still allows the perception of the practice of contaminatio realized by the author, who updated the Greek narration to the Latin reality by means of its juridical adequation to the Roman reality.An alternate reading from the line 179 from Medea of Seneca under Roman Justice procedural focus, attached to the various juridical dispositions concerning the actiones no-xialis, allows the enlargement of the comprehension of the tragic protagonist rule. In this new translational possibility, Medea acquired, in very clear way, the role of the wronged, enhancing Jason’s treachery and Creon’s tyranny. On the other hand, this procedural reading of the literary text of Seneca still allows the perception of the practice of contaminatio realized by the author, who updated the Greek narration to the Latin reality by means of its juridical adequation to the Roman reality.An alternate reading from the line 179 from Medea of Seneca under Roman Justice procedural focus, attached to the various juridical dispositions concerning the actiones no-xialis, allows the enlargement of the comprehension of the tragic protagonist rule. In this new translational possibility, Medea acquired, in very clear way, the role of the wronged, enhancing Jason’s treachery and Creon’s tyranny. On the other hand, this procedural reading of the literary text of Seneca still allows the perception of the practice of contaminatio realized by the author, who updated the Greek narration to the Latin reality by means of its juridical adequation to the Roman reality.An alternate reading from the line 179 from Medea of Seneca under Roman Justice procedural focus, attached to the various juridical dispositions concerning the actiones no-xialis, allows the enlargement of the comprehension of the tragic protagonist rule. In this new translational possibility, Medea acquired, in very clear way, the role of the wronged, enhancing Jason’s treachery and Creon’s tyranny. On the other hand, this procedural reading of the literary text of Seneca still allows the perception of the practice of contaminatio realized by the author, who updated the Greek narration to the Latin reality by means of its juridical adequation to the Roman reality.Uma leitura do verso 179 da Medeia de Sêneca sob o enfoque processual do Direito Romano, vinculado às diversas disposições legais relativas às actiones noxalis, permite o alar-gamento da compreensão do estatuto da protagonista trágica. Nessa nova possibilidade tradutória, Medeia adquiriu, de modo claro, a feição de injustiçada, com o realce da perfídia de Jasão e da tirania de Creonte. Por outro lado, essa leitura processual do texto literário senequiano ainda permite a percepção da prática da contaminatio efetuada pelo autor, que atualizou a narrativa grega para a realidade latina por meio de sua adequação jurídica à realidade romana.An alternate reading from the line 179 from Medea of Seneca under Roman Justice procedural focus, attached to the various juridical dispositions concerning the actiones no-xialis, allows the enlargement of the comprehension of the tragic protagonist rule. In this new translational possibility, Medea acquired, in very clear way, the role of the wronged, enhancing Jason’s treachery and Creon’s tyranny. On the other hand, this procedural reading of the literary text of Seneca still allows the perception of the practice of contaminatio realized by the author, who updated the Greek narration to the Latin reality by means of its juridical adequation to the Roman reality
Heraclidae at Medea /
No full textAuthor and title in Greek at head of t.p.; text in Greek.Mode of access: Internet
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