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"Medea"
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Lament of Medea: A Kinesthetic Performance / Medea’nın Ağıtı: Kinestetik Bir Performans
This study shows how the language of lament liberates a woman from a socially constructed murderous identity. By using stylistic analysis and mainly focusing on the method of singing lament, this article shows the possibility of undermining the socially constructed identity of the ancient Greek heroine Medea. As the 19th-century thoughts in England about women acquired the most exacerbated misogynist overtones, the problem for the women artists was a desperate search for a new identity and, thus, for language. Two crucial Victorian poets, Amy Levy and Augusta Webster, turned to Greek mythology to explore the collective cultural constructions, recognized the power of lament as a literary device and used it to provide a new perspective to ancient Greek playwright Euripides’ Medea. They formulated their poem using the linguistic and contextual rules of lamentation, such as interrogative questions, alliteration, assonance, phonetic structuring, highly metaphorical language, wordplay, parallelism and antithesis. Due to the figurative devices and deviant use of language, they made the reader witness the melancholy and mourning of heroin. They got the reader to think that they should reconsider Medea. Thus, this study focuses on the poetic language of Levy and Webster to provide a different angle to the concept of identity and give the reader a better sense of what Medea is all about. This article provides critical insight into the power of the language of lament in the deconstruction of rigid and stable identity. Moreover, it shows the critical role that language and the performance of lament play in the construction of the self-perception of the speaking subject.
Journal Article
Medea, Magic, and Modernity in France
Bringing together the previously disparate fields of historical witchcraft, reception history, poetics, and psychoanalysis, this innovative study shows how the glamour of the historical witch, a spell that she cast, was set on a course, over a span of three hundred years from the sixteenth to the eighteenth centuries, to become a generally broadcast glamour of appearance. Something that a woman does, that is, became something that she has. The antique heroine Medea, witch and barbarian, infamous poisoner, infanticide, regicide, scourge of philanderers, and indefatigable traveller, serves as the vehicle of this development. Revived on the stage of modernity by La Péruse in the sixteenth century, Corneille in the seventeenth, and the operatic composer Cherubini in the eighteenth, her stagecraft and her witchcraft combine, author Amy Wygant argues, to stun her audience into identifying with her magic and making it their own. In contrast to previous studies which have relied upon contemporary printed sources in order to gauge audience participation in and reaction to early modern theater, Wygant argues that psychoanalytic thought about the behavior of groups can be brought to bear on the question of \"what happened\" when the early modern witch was staged. This cross-disciplinary study reveals the surprising early modern trajectory of our contemporary obsession with magic. Medea figures the movement of culture in history, and in the mirror of the witch on the stage, a mirror both appealing and appalling, our own cultural performances are reflected. It concludes with an analysis of Diderot's claim that the historical process itself is magical, and with the moment in Revolutionary France when the slight and fragile body of the golden-throated singer, Julie-Angélique Scio, became a Medea for modernity: not a witch or a child-murderess, but, as all the press reviews insist, a woman.
eBook
Medea
\"The Medea of Euripides is one of the greatest of all Greek tragedies, and arguably the one that has the most significance for us today. A barbarian woman brought to Corinth and there abandoned by her Greek husband, Medea seeks vengeance on Jason, and is willing to strike out against his new wife and family--even slaughtering the sons she has born him. From the very beginning of the play we are drawn into a world \"torn asunder by blind, disruptive forces, which affords no consolation, no compassion for suffering.\" At its center is Medea herself, a character who refuses definition: is she a hero, a witch, a psychopath, a goddess? All that can be said for certain is that she is a woman who has loved, has suffered, and will stop at nothing for vengeance. In this stunning translation, poet Charles Martin captures the rhythms of Euripides's original text through contemporary rhyme and meter that speaks directly to modern readers. An introduction by classicist and poet A.E. Stallings examines the complex and multifaceted Medea in patriarchal ancient Greece. Perfect in and out of the classroom as well as for theatrical performance, this faithful translation succeeds like no other\"--Provided by publisher.
Book
Ovid's Tragic Heroines
Ovid's Tragic Heroines expands
our understanding of Ovid's incorporation of Greek generic codes
and the tragic heroines, Phaedra and Medea, while offering a new
perspective on the Roman poet's persistent interest in these two
characters and their paradigms. Ovid presents these two
Attic tragic heroines as symbols of different passions that are
defined by the specific combination of their gender and generic
provenance. Their failure to be understood and their subsequent
punishment are constructed as the result of their female \"nature,\"
and are generically marked as \"tragic.\" Ovid's masculine poetic
voice, by contrast, is given free rein to oscillate and play with
poetic possibilities.
Jessica A. Westerhold focuses on select passages from the poems
Ars Amatoria , Heroides , and
Metamorphoses . Building on existing scholarship, she
analyzes the dynamic nature of generic categories and codes in
Ovid's poetry, especially the interplay of elegy and epic. Further,
her analysis of Ovid's reception applies the idea of the abject to
elucidate Ovid's process of constructing gender and genre in his
poetry.
Ovid's Tragic Heroines incorporates established
theories of the performativity of sex, gender, and kinship roles to
understand the continued maintenance of the normative and abject
subject positions Ovid's poetry creates. The resulting analysis
reveals how Ovid's Phaedras and Medeas offer alternatives both to
traditional gender roles and to material appropriate to a poem's
genre, ultimately using the tragic code to introduce a new
perspective to epic and elegy.
eBook
Synthetically engineered Medea gene drive system in the worldwide crop pest Drosophila suzukii
Synthetic gene drive systems possess enormous potential to replace, alter, or suppress wild populations of significant disease vectors and crop pests; however, their utility in diverse populations remains to be demonstrated. Here, we report the creation of a synthetic Medea gene drive system in a major worldwide crop pest, Drosophila suzukii. We demonstrate that this drive system, based on an engineered maternal “toxin” coupled with a linked embryonic “antidote,” is capable of biasing Mendelian inheritance rates with up to 100% efficiency. However, we find that drive resistance, resulting from naturally occurring genetic variation and associated fitness costs, can be selected for and hinder the spread of such a drive. Despite this, our results suggest that this gene drive could maintain itself at high frequencies in a wild population and spread to fixation if either its fitness costs or toxin resistance were reduced, providing a clear path forward for developing future such systems in this pest.
Journal Article
Between Truth and Appearance: Medea’s Emotional Manipulation through gnomai
This work seeks to examine how Medea uses γνῶμαι to manipulate the perception of her emotions by her interlocutors. The tragic genre, between its audience and its characters, generates a contrast that results in varying knowledge levels, to ultimately lead to a strong sense of tragic irony. These levels can be helpful in analysing the emotional manipulation. This is an important point to examine γνῶμαι and emotions in the context in which they are used, i.e., considering how Medea is presented on scene in terms of emotions, how the other characters perceive Medea, and how γνῶμαι are used for this purpose. I will consider the explicit and implicit information provided by γνῶμαι regarding who pronounces each of them and their interlocutor, as well as, when possible, the purpose for which they are used.
Journal Article