Otherness and Exile
- Karamanou, I. (2014). Otherness and exile: Euripides' production of 431 BC. Retrieved June, 19, 2015, from D. Stuttard (ed.) Looking at Medea. Bloomsbury Press 2014: http://www.academia.edu/4669447/Otherness_and_Exile_Euripides_Production_of_431_BC_in_D.
This chapter sets out to explore certain common underlying themes, which, despite the plot differences, pervade the plays of this tetralogy. I shall argue that the tragedies are conceptually interrelated by means of the key notions of exile and otherness and shall investigate the manner in which these ideas are embedded within their contemporary sociopolitical and cultural context. - Little. R., J. (1966). Elements of the Jason-Medea Myth in "Exil" by Saint-John Perse. In Modern Humanities Research Association. Retrieved from Jstor.Made from nothingness rather than from nothing, one may reasonably look for associations with instances of exile and deprivation in history and myth, among which the story of the Golden Fleece appears to play a significant role.
- Stratford, J. (n.d.). In Medea Res: Restaging Euripides on the Global Stage. Retrieved June 23, 2015, from Academia.edu: http://www.academia.edu/244261/_In_Medea_Res_Restaging_Euripides_on_the_Global_Stage.This paper examines the construction of the identity of the foreigner in Euripides’
Medea and the modern immigrant, refugee, or asylum-seeker. I argue that this identity is not static but inconstant flux. The foreigner is the object of desire – of exotic and even erotic fantasy – at the same time as representing great danger both to the physical citizen body as well as the body of culture itself.
Gender
- Wilson, L. (n.d.). Is Medea a feminist? Retrieved June 23, 2015, from Academia.edu: http://www.academia.edu/10877202/Is_Medea_a_feminist_
Euripides tragic rendition of the myth of Medea was first produced in 431 BC. His tale differed from the classical myth of Jason on Medea as his placed a lot more focus on Medea herself, and consequently the place of women in ancient Greece. Some consider Euripides Medea to be a scathing loo& at the unfairness of patriarchal Greek society at the time while others view Euripides portrayal of women as misogynistic. - Messing, A. (n.d.). Protofeminist or Misogynist? Medea as a case study of gendered discourse in Euripidean drama. Retrieved June 23, 2015, from Academia.edu: http://www.academia.edu/7214589/Protofeminist_or_Misogynist_Medea_as_a_case_study_of_gendered_disAlthough experts and laypersons alike know well that ancient Greece was overwhelmingly misogynist and patriarchal, nevertheless there have been numerous attempts to salvage voices from the classical world at least sympathetic to the plight of women.
- Cripps, E. (n.d.). What valuation do your chosen texts place on emotions and / or self-control? Retrieved June 23, 2015, from Academia.edu: http://www.academia.edu/11983714/What_valuation_do_your_chosen_texts_place_on_emotions_and_or_self-controlThe governing power that the Greek gods presided over the lives of humankind is a theme which reoccurs throughout countless works of Greek myth. From Athena’s role in guiding Odysseus through his trials and tribulations in Homer’s Odyssey to Ovid’s admittance of defeat to !upid in book one of his Amores 'the gods are portrayed as real' physical forces with definite and often destructive powers of influence.
Interpretations
- Acosta-Hughes. B, Gregerson, L., Mendeloff, K., Prins, Y., Scodel, R., Shaw. F., & Warner, D. (2003). A Symposium on Medea. Retrieved June 24, 2015, from Michigan Quarterly Review: http://hdl.handle.net/2027/spo.act2080.0042.301Last fall the Abbey Theatre of Ireland's acclaimed production of Euripides' Medea came to the University of Michigan. On October 18, 2002, a symposium about the play and the production convened in which distinguished scholars on the faculty of the university asked questions of the play's director, Deborah Warner, and the lead actress, Fiona Shaw.
- Walton, F. (1949). Euripides, Medea, 160-172. A New Interpretation. Retrieved from JstorFrancis Walton explores a discrepancy in the Medea text proposing that it is real and intentional.
- Harrison, J. (1999). Euripides Medea: A new translation and commentary by John Harrison. Retrieved June 24, 2015, from Cambridge translations from Greek Drama: http://education.cambridge.org/media/652931/euripides__medea.pdfThe translations are new. Many recent versions of Greek tragedy have been done by poets and playwrights who do not work from the original Greek. The translators of this series aim to bring readers, actors and directors as close as possible to the playwrights’ actual words and intentions: to create translations which are faithful to the original in content and tone; and which are speakable, with the immediacy of modern English.
Greek Mythology Links
- Parada, C. (1997). Medea Greek Mythology link. Retrieved June 24, 2015, from Greek Mythology Link: http://www.maicar.com/GML/Medea.htmlMedea, the curse of Pelias 1, is the princess, priestess, and witch, whom Jason brought to Hellas on his return from Colchis. Medea has been called daughter of Hecate since she served this goddess as her priestess, but otherwise her mother is said to have been Idyia, one of the OCEANIDS.
- Mills, S.P. (1980). The sorrows of Medea. Retrieved from JstorPerhaps owing to its importance as the first example of "psychological tragedy" in Western literature, Euripides' Medea is not usually regarded as a play in which the mythic element has any great prominence.' And yet, as recent scholarship continues to show, Euripides constantly employs themes and motifs drawn from traditional myths to enrich and illuminate, give shape to or comment ironically upon, the events of his plays.
Modern Adaptations of Medea
- Marks, M. (2013). Three faces of destiny: An analysis of the modern Medea figure on the American stage. Retrieved June, 19, 2015, from San Jose State University Scholar Works: http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=7899&context=etd_theseThis thesis examines the ways in which three structural factors contained within three modern Americian adaptations of Euripides' Medea serve to enhance the dominant personality traits of the main character.
- National Theatre Live. (2015). Medea. Retrieved June 23, 2015, from National Theatre: //ntlive.nationaltheatre.org.uk/productions/46190-medeaMedea and Euripides Euripides, believed to have lived between 480-406 BCE, was a Greek
tragedian who is thought to have written over 90 plays during his lifetime. Around a fifth of these plays have survived to the present day in a relatively complete state, including Medea, Electra, The Trojan Women and The Bacchae. - Smethurst,M. (2002). Ninagawa's Production of Euripides' Medea. Retrieved June 24, 2015, from The American Journal of Philology: http://www.jstor.org.db.plcscotch.wa.edu.au/stable/1561998Japan which has been the biggest consumer of his Medea, was and still is a male-dominated society. According to Ninagawa, it is a country in which for a woman to be demure and weak is considered a virtue. And yet, if you look closely at Euripides ' Medea you might conclude that Medea, although strong…
