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Anthony Frederick Augustus Sandys Oil Paintings Anthony Frederick Augustus Sandys [English Pre-Raphaelite Painter, 1829-1904] Autumn canvas painting, 47669-Anthony Frederick Augustus Sandys-Autumn.jpg Oil Painting ID: 47669 | Order the painting Dimensions of original painting canvas painting, 47670-Anthony Frederick Augustus Sandys-Dimensions of original painting.jpg Oil Painting ID: 47670 | Order the painting Gentle Spring canvas painting, 47671-Anthony Frederick Augustus Sandys-Gentle Spring.jpg Oil Painting ID: 47671 | Order the painting Helen of Troy canvas painting, 47672-Anthony Frederick Augustus Sandys-Helen of Troy.jpg Oil Painting ID: 47672 | Order the painting Love's Shadow canvas painting, 47673-Anthony Frederick Augustus Sandys-Love's Shadow.jpg Oil Painting ID: 47673 | Order the painting 1/3 Love's Shadow canvas painting, 47674-Anthony Frederick Augustus Sandys-Love's Shadow.jpg Oil Painting ID: 47674 | Order the painting Mary Magdalene canvas painting, 47675-Anthony Frederick Augustus Sandys-Mary Magdalene.jpg Oil Painting ID: 47675 | Order the painting Mary Sandys canvas painting, 47676-Anthony Frederick Augustus Sandys-Mary Sandys.jpg Oil Painting ID: 47676 | Order the painting May Margaret canvas painting, 47677-Anthony Frederick Augustus Sandys-May Margaret.jpg Oil Painting ID: 47677 | Order the painting Medea canvas painting, 47678-Anthony Frederick Augustus Sandys-Medea.jpg Oil Painting ID: 47678 | Order the painting Total 2 pages, 1/2 | Page : [1] 2 Anthony Frederick Augustus Sandys (Nationality : English Pre-Raphaelite Painter, 1829-1904) Anthony Frederick Augustus Sandys (born Antonio Frederic Augustus Sands) (1 May 1829 - 25 June 1904), but usually known as Frederick Sandys, was an English Pre-Raphaelite painter, illustrator and draughtsman, of the Victorian era. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. 2/3 • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-962-1.html 3/3.

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VG Interview: Cherrie Moraga
VG Interview: Cherrie Moraga Maria-Antónia Oliver-Rotger (M-A O-R): What have been your major dramatic influences? Cherrie Moraga (CM): My major influence has been the bilingual- ism and working-class theater of the Chicano Teatro movements, especially El Teatro Campesino. Also the poetic sensuality of Fed- erico García Lorca. The teachings of María Irene Fornes allowed me to enter playwriting as a poet, to find the story through image and character, i.e. an organic place of the heart, rather than through the progressive plot-line (action-driven) structure. I have been inspired by the technique of other playwrights: the language and structural inventiveness of African-American Suzan Lori Parks, the courage of the female characterization of the Puerto Rican playwright Migdalia Cruz. The storytelling en voz alta de mis tías y mi mamá around the kitchen table introduced me (especially my mother) to the dramatic art of story-telling. M-A O-R: What caused you to start writing drama after having written poetry and prose? CM: After publishing Loving in the War Years (1983) which was very autobiographical, my own story had finally been told on the page. This allowed space within me for character (some one other than myself to enter) my unconscious. The character started speaking out loud. This was Corky from Giving Up the Ghost. It was oral. Thus, the beginnings of dramatic writing. Interview by: Maria-Antónia Oliver-Rotger Date: January 2000 1 © 2009 Regents of the University of Minnesota. All rights reserved. The University of Minnesota is an equal opportunity educator and employer.
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Pasolini's Medea: a Twentieth Century Tragedy Susan O. Shapiro (Utah State University) “Pasolini Did Not Make Greek Tragedy
Pasolini's Medea: A Twentieth Century Tragedy Susan O. Shapiro (Utah State University) “Pasolini did not make Greek tragedy. He made very striking films about the myths on which tragedy is based.”1 Although this comment by Greek film director Michael Cacoyannis was not intended as a compliment, it nonetheless provides an important insight into the three films based on Greek tragedies that Pier Paolo Pasolini wrote and directed: Oedipus Rex (1967), Medea (1969), and Notes for an African Oresteia (1970). In re-shaping ancient tragedies for the twentieth century, Pasolini did exactly what the Greek tragic poets had done centuries before: he used inherited myth to express timeless themes in a way that was relevant to a contemporary audience. Thus Pasolini’s Oedipus Rex interprets Sophocles from a Freudian point of view, and Notes for an African Oresteia is inspired by Marx, Freud and Antonio Gramsci, as well as by Aeschylus. This paper focuses on the Medea and shows how Pasolini re-interprets Euripides’ play with the help of Carl Jung, Mircea Eliade and Sir James Frazer. Through the figure of the centaur (a stand-in for the director himself),2 Pasolini shows us an over-rationalized Western civilization that is both fascinated and repelled by the pre- rational world view it had long ago abandoned. The key to the interpretation of the film is provided by three dreamlike scenes: (1) the Centaur’s poetic invocation to the nature deities at the beginning of the film; (2) a ritual of human sacrifice, performed in primitive Colchis (with Medea as
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Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world.
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An Analysis of the Modern Medea Figure on the American Stage
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Summer 2013 Three Faces of Destiny: An Analysis of the Modern Medea Figure on the American Stage Melinda M. Marks San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Marks, Melinda M., "Three Faces of Destiny: An Analysis of the Modern Medea Figure on the American Stage" (2013). Master's Theses. 4352. DOI: https://doi.org/10.31979/etd.d5au-kyx2 https://scholarworks.sjsu.edu/etd_theses/4352 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE A Thesis Presented to The Faculty of the Department of Television, Radio, Film and Theatre San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Melinda Marks August 2013 i © 2013 Melinda Marks ALL RIGHTS RESERVED ii The Designated Thesis Committee Approves the Thesis Titled THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE by Melinda Marks APPROVED FOR THE DEPARTMENT OF TELEVISION, RADIO, FILM AND THEATRE SAN JOSÉ STATE UNIVERSITY August 2013 Dr. Matthew Spangler Department of Communication Studies Dr. David Kahn Department of Television, Radio, Film and Theatre Dr. Alison McKee Department of Television, Radio, Film and Theatre iii ABSTRACT THREE FACES OF DESTINY: AN ANALYSIS OF THE MODERN MEDEA FIGURE ON THE AMERICAN STAGE By Melinda Marks This thesis examines the ways in which three structural factors contained within three modern American adaptations of Euripides’ Medea serve to enhance the dominant personality traits of the main character.
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Pasolini's Medea
Faventia 37, 2015 91-122 Pasolini’s Medea: using μῦθος καὶ σῆμα to denounce the catastrophe of contemporary life* Pau Gilabert Barberà Universitat de Barcelona. Departament de Filologia Clàssica, Romànica i Semítica [email protected] Reception: 01/02/2012 Abstract From Pasolini’s point of view, Medea’s tragedy is likewise the tragedy of the contemporary Western world and cinema is the semiology of reality. His Medea thus becomes an ancient myth pregnant with signs to be interpreted by attentive viewers. The aim of this article is to put forward reasoned interpretations based on a close analysis of the images and verbal discourses (lógoi) of Pasolini’s script, ever mindful of the explanations given by the director himself that have been published in interviews, articles and other texts. Keywords: Pier Paolo Pasolini; Medea; Greek tragedy; classical tradition; cinema; semiology Resumen. La Medea de Pasolini: utilizar μῦθος καὶ σῆμα para denunciar la catástrofe del mundo contemporáneo Desde el punto de vista de Pasolini, la tragedia de Medea equivale a la tragedia del mundo con- temporáneo y el cine es la semiología de la realidad. Su Medea deviene así un mito antiguo repleto de signos que requieren la interpretación de espectadores atentos. El objetivo de este artículo es proponer interpretaciones razonadas basadas en el análisis minucioso de las imágenes y de los dis- cursos verbales (lógoi) del guion de Pasolini, siempre desde el conocimiento de las explicaciones dadas por el mismo director publicadas en entrevistas, artículos y otros textos. Palabras clave: Pier Paolo Pasolini; Medea; tragedia griega; tradición clásica; cine; semiología * This article is one of the results of a research project endowed by the Ministerio de Educación y Ciencia “Usos y construcción de la tragedia griega y de lo clásico” –reference: FFI2009-10286 (subprograma FILO); main researcher: Prof.
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Medea by Euripides Comprehensive Summary Euripedes' Medea Opens in a State of Conflict. Jason Has Abandoned His Wife, Medea
Medea by Euripides Comprehensive Summary Euripedes' Medea opens in a state of conflict. Jason has abandoned his wife, Medea, along with their two children. He hopes to advance his station by remarrying with Glauce, the daughter of Creon, king of Corinth, the Greek city where the play is set. All the events of play proceed out of this initial dilemma, and the involved parties become its central characters. Outside the royal palace, a nurse laments the events that have lead to the present crisis. After a long series of trials and adventures, which ultimately forced Jason and Medea to seek exile in Corinth, the pair had settled down and established their family, achieving a degree of fame and respectability. Jason's recent abandonment of that family has crushed Medea emotionally, to the degree that she curses her own existence, as well as that of her two children. Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for "justice"--at this stage in her thinking, the murder of Creon, Glauce, and Jason. Jason accuses Medea of overreacting. By voicing her grievances so publicly, she has endangered her life and that of their children. He claims that his decision to remarry was in everyone's best interest. Medea finds him spineless, and she refuses to accept his token offers of help. Appearing by chance in Corinth, Aegeus, King of Athens, offers Medea sanctuary in his home city in exchange for her knowledge of certain drugs that can cure his sterility.
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CHARACTERS of the PLAY Medea, Daughter of Aiêtês, King of Colchis. Jason, Chief of the Argonauts
MEDEA CHARACTERS OF THE PLAY Medea, daughter of Aiêtês, King of Colchis. Jason, chief of the Argonauts; nephew of Pelias, King of Iôlcos in Thessaly. Creon, ruler of Corinth. Aegeus, King of Athens. Nurse of Medea. Two Children of Jason and Medea. Attendant on the children. A Messenger. Chorus of Corinthian Women, with their Leader. Soldiers and Attendants. The scene is laid in Corinth. The play was first acted when Pythodôrus was Archon, Olympiad 87, year 1 (B.C. 431). Euphorion was first, Sophocles second, Euripides third, with Medea, Philoctêtes, Dictys, and the Harvesters, a Satyr-play. The Scene represents the front of Medea's House in Corinth. A road to the right leads towards the royal castle, one on the left to the harbor. The Nurse is discovered alone. Nurse. If only the gods barred the Argo from winning the golden fleece. Then my princess, Medea, would have never traveled to Iolcus with her love Jason. Then she wouldn’t have deceived the daughters of King Pelias to kill their father. Causing her and her family to flee to Corinth. But now, Jason and Medea’s love is poisoned. Jason has spurned my princess and his own sons, for a crown. He has married the daughter of Creon. And Creon is the king of Corinth. Medea cries for her family and her home that she destroyed in Colohis. What scares me the most is that she looks at her children with hate. I know that woman. She has some scheme. (Children playing noises) Here come her children, happy and free from their mother’s pain.
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LE MIE MEMORIE ARTISTICHE Giovanni Pacini
LE MIE MEMORIE ARTISTICHE Giovanni Pacini English translation: Adriaan van der Tang, October 2011 1 2 GIOVANNI PACINI: LE MIE MEMORIE ARTISTICHE PREFACE Pacini’s autobiography Le mie memorie artistiche has been published in several editions. For the present translation the original text has been used, consisting of 148 pages and published in 1865 by G.G. Guidi. In 1872 E. Sinimberghi in Rome published Le mie memorie artistiche di Giovanni Pacini, continuate dall’avvocato Filippo Cicconetti. The edition usually referred to was published in 1875 by Le Monnier in Florence under the title Le mie memorie artistiche: edite ed inedite, edited by Ferdinando Magnani. The first 127 pages contain the complete text of the original edition of 1865 – albeit with a different page numbering – extended with the section ‘inedite’ of 96 pages, containing notes Pacini made after publication of the 1865-edition, beginning with three ‘omissioni’. This 1875- edition covers the years as from 1864 and describes Pacini’s involvement with performances of some of his operas in several minor Italian theatres. His intensive supervision at the first performances in 1867 of Don Diego di Mendoza and Berta di Varnol was described as well, as were the executions of several of his cantatas, among which the cantata Pacini wrote for the unveiling of the Rossini- monument in Pesaro, his oratorios, masses and instrumental works. Furthermore he wrote about the countless initiatives he developed, such as the repatriation of Bellini’s remains to Catania and the erection of a monument in Arezzo in honour of the great poet Guido Monaco, much adored by him.
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A Letter by the Composer About "Giovanni D'arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid
Performance Practice Review Volume 3 Article 10 Number 1 Spring A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Chusid, Martin (1990) "A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day," Performance Practice Review: Vol. 3: No. 1, Article 10. DOI: 10.5642/perfpr.199003.01.10 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/10 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Tempo and Conducting in 19th-century Opera A Letter by the Composer about Giovanna d'Arco and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Vcnezia 28 Marzo 1845 Venice 28 March 1845 Carissimo Romani My very dear Romani Ti ringrazio dei saluti mandalimi dalla Thank you for conveying Mme Bortolotti.1 Tu vuoi che t'accenni aleune Bortolotti's greetings. You want me cose sul la Giovanna? Tu non ne to point out some things about abbisogni, e sai bene inlerpretare da te; Giovanna? You don't need them, and ma se ti fa piacere che te ne dica are well able to interpret by yourself; qualcosa; cccomi a saziarti [?].
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Download Medea: a Radical New Version from the Perspective Of
MEDEA: A RADICAL NEW VERSION FROM THE PERSPECTIVE OF THE CHILDREN DOWNLOAD FREE BOOK Kate Mulvany | 96 pages | 29 Nov 2016 | Oberon Books Ltd | 9781783193035 | English | London, United Kingdom Medea review – domestic drama seen through children's frightened eyes As women grew older, sons became ever more important to them. Medea is presented in association with Belvoir, Sydney and directed by Anne- Louise Sarks whose original production of the play was highly critically acclaimed. The sacrifice of the innocent child has been the prerogative of Kings like Agamemnon, who at Calchas' decree sacrifices his daughter Iphigeneia. By placing centre stage the damage inflicted on the warring couple's children, it forces us into a whole new engagement with Euripides's themes of marital abuse, revenge and consequence. Among the higher classes, slaves probably did the shopping. A generation before, a prince named Phrixus—related to the royal family of Iolcus—fled from his homeland to avoid being sacrificed, riding on the back of a divine ram with a golden fleece. I-flag bilang hindi naaangkop. In return, Heracles gave her a place to stay in Thebes Medea: A Radical New Version from the Perspective of the Children the Thebans drove her out in anger, despite Heracles' protests. Jason refused and killed Apsyrtus. In what ways is it false. All this suggests that the hints given in the prologue told the truth, that Medea has from the start been determined on this course of action. Meddeb, Abdelwahhab —. Accompanied by her son, she returned to Colchis and restored her father to the throne, of which he had been deprived by his own brother Perses.
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Oath Making and Breaking in Euripides' Medea
Ephemeris Volume 7 Article 6 2012 Oath Making and Breaking in Euripides' Medea Karyn Greene Denison University Follow this and additional works at: https://digitalcommons.denison.edu/ephemeris Part of the Ancient Philosophy Commons, History of Art, Architecture, and Archaeology Commons, and the History of Religions of Western Origin Commons Recommended Citation Greene, Karyn (2012) "Oath Making and Breaking in Euripides' Medea," Ephemeris: Vol. 7 , Article 6. Available at: https://digitalcommons.denison.edu/ephemeris/vol7/iss1/6 This Article is brought to you for free and open access by the Classical Studies at Denison Digital Commons. It has been accepted for inclusion in Ephemeris by an authorized editor of Denison Digital Commons. Oath Making and Breaking in Euripides’ Medea KARYN GREENE The swearing of oaths was an important feature of the Ancient Athenian political system. It was “a political process that could be expressed in ritual language and by means of ritual acts” (Cole, 227). In the Medea, Medea uses this political process as a means to both punish Jason for his betrayal and to avenge her dishonor. Euripides’s use of this practice emphasizes the importance of politics to the maintenance and successful continuation of both private and public life within the polis. Oath making defined Athenian culture. It played such an integral role in society and was employed to determine the citizenship of Athenian males. First, an oath was made by the men who decided which youths were eligible to be honored with citizenship. Then, another oath was made by the men charged with equipping these youths with all the knowledge necessary for them to be successful and productive members of society.
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Pasolini's Medea and the Six (Eight) Human Sacrifices
Pasolini's Medea and the Six (Eight) Human Sacrifices Of the many ways to present and analyze the myth of Medea, the emphasis on her otherness and loss of identity, her subjection as an alien person to colonizing exploitation, has proved remarkably fruitful in the last century (Medea in Performance 2000, Looking at Medea 2014, Lenormand 1931, Anderson 1936, Magnuson 1971, Kennelly 1989, Butler 1990, Enoch 2006). Pier Paolo Pasolini’s film Medea (1969) has an exceeding rich and complex version of Medea, and certainly he had in mind her colonized situation (Kvistad 2010, Caminati 2016). In this paper I analyze the human sacrifices or ritualized murders that Medea performs in Pasolini’s film in light of her colonized trauma. (1) The sacrifice in the context of a fertility ritual in primitive Colchis remains unproblematic in my analysis, preceding as it does the encounter with Jason when Medea succumbs to the eroticized attractions of his world and begins to participate in her own colonized exploitation. But the other sacrifices afford an interpretation strikingly different to what they usually receive. Now cooperating with Jason in order to further the colonizer’s goals, (2) Medea sacrifices her brother. In the second half of the film, where Pasolini works from Euripides’s play, the colonized oriental finds herself replaced by a Greek woman because Jason has contracted a politically advantageous marriage with Glauce, daughter of the Corinthian king Creon. Now Medea shuffles off her colonized identity and pursues her own anticolonial project. In the rational world of Corinth magic has lost its power, and only in a vision can she use it against the princess and king (3a and 4a).
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