563 research outputs found
Biobanking across the phenome - at the center of chronic disease research
No full textRecognized public health relevant risk factors such as obesity, physical inactivity, smoking or air pollution are common to many non-communicable diseases (NCDs). NCDs cluster and co-morbidities increase in parallel to age. Pleiotropic genes and genetic variants have been identified by genome-wide association studies (GWAS) linking NCD entities hitherto thought to be distant in etiology. These different lines of evidence suggest that NCD disease mechanisms are in part shared. Identification of common exogenous and endogenous risk patterns may promote efficient prevention, an urgent need in the light of the global NCD epidemic. The prerequisite to investigate causal risk patterns including biologic, genetic and environmental factors across different NCDs are well characterized cohorts with associated biobanks. Prospectively collected data and biospecimen from subjects of various age, sociodemographic, and cultural groups, both healthy and affected by one or more NCD, are essential for exploring biologic mechanisms and susceptibilities interlinking different environmental and lifestyle exposures, co-morbidities, as well as cellular senescence and aging. A paradigm shift in the research activities can currently be observed, moving from focused investigations on the effect of a single risk factor on an isolated health outcome to a more comprehensive assessment of risk patterns and a broader phenome approach. Though important methodological and analytical challenges need to be resolved, the ongoing international efforts to establish large-scale population-based biobank cohorts are a critical basis for moving NCD disease etiology forward. Future epidemiologic and public health research should aim at sustaining a comprehensive systems view on health and disease. The political and public discussions about the utilitarian aspect of investing in and contributing to cohort and biobank research are essential and are indirectly linked to the achievement of public health programs effectively addressing the global NCD epidemic
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
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
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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Despoiled Shore/Medea Material/Landscape with Argonauts
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—This is the text of Despoiled Shore/Medea Material/Landscape with Argonauts written by the German author Heiner Müller. It was translated in English from the original by M. Eugenia Demeglio and Thanos Polymeneas Liontiris. The text was used as material for most of the experiments in this practice-based PhD study
Hosidius Geta Medea-centója
No full textThe subject of my paper is Hosidius Geta’s drama, Medea. The Late Latin tragedy retells the well-known Greek myth in Virgilian hexameters. Written in the 3rd century AD, the piece was preserved in the so-called Codex Salmasianus (today Codex Parisianus 10381), a manuscript copied in a monastic scriptorium in the 8th century. Not much is known about its assumed author, Hosidius Geta. Due to the fact that his figure is known from a reference by Tertullian the African, Hosidius might also have lived in Africa. Originally, the name of the genre cento meant a patchwork garment used for covering animals or as defensive armour. Later, the expression was applied to a new method of poetic creation and a particular literary genre, in which new poems were composed of excerpts taken from other authors, especially Virgil. I focus on passages where Medea’s words might have been borrowed from Virgil’s Dido. Most quotations from Dido are put into the mouth of Medea, but Medea’s passages are predominantly composed of other sources. Hosidius’ Medea is related to Seneca’s portrayal: her cruel and destructive nature seems to be conscious, which alienates the reader.The subject of my paper is Hosidius Geta’s drama, Medea. The Late Latin tragedy retells the well-known Greek myth in Virgilian hexameters. Written in the 3rd century AD, the piece was preserved in the so-called Codex Salmasianus (today Codex Parisianus 10381), a manuscript copied in a monastic scriptorium in the 8th century. Not much is known about its assumed author, Hosidius Geta. Due to the fact that his figure is known from a reference by Tertullian the African, Hosidius might also have lived in Africa. Originally, the name of the genre cento meant a patchwork garment used for covering animals or as defensive armour. Later, the expression was applied to a new method of poetic creation and a particular literary genre, in which new poems were composed of excerpts taken from other authors, especially Virgil. I focus on passages where Medea’s words might have been borrowed from Virgil’s Dido. Most quotations from Dido are put into the mouth of Medea, but Medea’s passages are predominantly composed of other sources. Hosidius’ Medea is related to Seneca’s portrayal: her cruel and destructive nature seems to be conscious, which alienates the reader
Medea(s)
No full textSe trata de un ´Artículo-Recensión´ sobre una extensísima Antología de trabajos acerca de la figura y el mito de Medea en las literaturas clásicas, y también en las modernas (con un énfasis especial en la española del Siglo de Oro), recopilados y editados por Aurora López y Andrés Pociña, catedráticos ambos de Literatura latina en la
Universidad de Granada. Aunque el aspecto descriptivo predomina a lo largo del artículo, el autor de este articulo no ha renunciado a ofrecer una valoración personal de muchos trabajos. El volumen en cuestión es de una variedad extraordinaria; pero, según el presente comentarista, su hilo conductor hay que buscarlo en determinados rasgos de la Medea senequiana, mucho más que en su modelo euripideo. La obra maestra del griego nos resulta más compleja, pero quizás más lejana también. En cambio, Séneca es rico en virtualidades que todavía no han sido plenamente explotadas.This is a Review-article on a very large anthology of writings around the figure and the myth of Medea in classical as well as modern literatures (particularly emphasizing literature in Spanish), compiled and edited by Aurora López and Andrés Pociña, professors of Latin literature in the University of Granada. Even though a descriptive mood predominates, the author has not shied away from giving personal assessment of many articles. The thread of the volume, although it offers an extraordinary variety, must be found, according to the reviewer, in the Senecan Medea rather than in the Euripidean model. The Greek masterpiece may be more complex to us, but it is at the same time more distant. Seneca is richer in potentialities that have not yet been wholly exploited.Centro de Estudios de Lenguas Clásicas. Area Filología Grieg
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