Medea − Learning Pack
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War. -
Table of Contents
TABLE OF CONTENTS Resumen ........................................................................................................................... 2 1.Introduction: the legacy ................................................................................................. 3 2. The Classical world in English Literature .................................................................... 6 3. Lady Macbeth, the Scottish Medea ............................................................................ 13 4. Pygmalion: Ovid and George Bernard Shaw ............................................................. 21 5. Upgrading mythology: the American graphic novel .................................................. 33 6. Conclusion .................................................................................................................. 37 BIBLIOGRAPHY .......................................................................................................... 39 1 Resumen El propósito de este escrito es presentar el legado de las culturas griega y romana, principalmente sus literaturas, a través de la historia de la literatura. Aunque ambas tradiciones han tenido un enorme impacto en las producciones literarias de de distintos países alrededor del mundo, esta investigación está enfocada solamente a la literatura inglesa. Así pues, el trabajo iniciará hablando de la influencia de Grecia y Roma en el mundo actual para después pasar al área particular de la literatura. También se tratarán tres ejemplos incluyendo el análisis de tres obras -
MEDEA in OVID's METAMORPHOSES and the OVIDE MORALISE: TRANSLATION AS TRANSMISSION Joel N
MEDEA IN OVID'S METAMORPHOSES AND THE OVIDE MORALISE: TRANSLATION AS TRANSMISSION Joel N. Feimer Ovide Moralist of the early fourteenth century is much more than a translation into Old French of the first-century Latin Metamorphoses of Ovid. It has long been observed that mediaeval translators were not driven by a passion for "accuracy," or torn by a sense of the futility of their task as their modern counterparts have been. As a comparison of the two texts clearly shows, the mediaeval poet augmented Ovid's work where he found it lacking, displaying an encyclopaedic erudition in the process. The author ,1 2 of Ovide Moralise also adapted the pagan content of Ovid's Metamorphoses to convey Christian dogma to his audience. Every narrative element, every character, and every symbol is employed to represent a Christian signifi• cance by means of allegorical exegeses which are as long as or longer than the passages they explicate. An excellent example of the mediaeval poet's use of his translation of Ovid's text to transmit his orthodox mediaeval vision to his audience may be found in his treatment of the story and character of Medea from Book VII of The Metamorphoses. Ovide Moralise contains the most complete portrait of Medea among the mediaeval narrations of her story.3 It traces the tale from Jason's acceptance of the quest to obtain the Golden Fleece to Medea's attempt to poison Theseus and her subsequent escape. To be sure, there are a number of works in both vernacular and Latin to which the title, Ovide Moralise, has been ascribed. -
ON the ORACLE GIVEN to AEGEUS (Eur
ON THE ORACLE GIVEN TO AEGEUS (Eur. Med. 679, 681) Aegeus, according to Euripides the childless king of Athens, consulted the oracle at Delphi on the matter of his childlessness, and was given a puzzling answer. He decided, therefore, to seek an explanation from Pittheus/ king of Troezen, who had the reputation of being a prophetic expert and a wise interpreter. On his way from Delphi to Troezen Aegeus passes through Corinth,1 meets with Medea, and repeats to her the Pythia’s advice: ἀσκοΰ με τὸν προυχοντα μὴ λῦσαι πόδα ... (679) πρὶν ἄν πατρῷαν αΰθις ἐστίαν μόλω. (681) Ί am not to loosen the hanging foot of the wineskin ... until I return again to the hearth of my fathers.’ Medea does not attempt to interpret the oracle, but offers instead to cure Aegeus’ childlessness with drugs when she arrives at his court, and the Athenian king having promised to grant her asylum proceeds to Troezen and to the begetting of Theseus. Ἀ hexametric version of the oracle, which somewhat differs from that of Euripides, appears in Apollod. Bibl. 3, 15, 6 (and in Plut. Thes. 3, 5): ἀσκοΰ τὸν προυχοντα πόδα, μεγα, φερτατε λαῶν, μὴ λυσῃς πρὶν ἐς ἄκρον Ά·θηναίων ἀφίκηνοα. ‘The bulging mouth of the wineskin, Ο best of men, loose not until thou hast reached the height of Athens.’2 1 Cf. T.B.L. Webster, The Tragedies of Euripides (London 1967) 54: ‘It is reasonable that he should pass through Corinth on his way from Delphi to Troezen,’ but cf. Α. Rivier, Essai sur le tragique dEuripide (Lausanne 1944) 55, and the literature cited by him. -
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. -
Faith and Authority in Euripides╎ Medea and the Bible
Proceedings of GREAT Day Volume 2011 Article 15 2012 Faith and Authority in Euripides’ Medea and the Bible Caitlin Kowalewski SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Kowalewski, Caitlin (2012) "Faith and Authority in Euripides’ Medea and the Bible," Proceedings of GREAT Day: Vol. 2011 , Article 15. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2011/iss1/15 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. Kowalewski: Faith and Authority in Euripides’ <i>Medea</i> and the Bible Faith and Authority in Euripides’ Medea and The Bible Caitlin Kowalewski As people who are essentially foreigners, counterparts accountable to the higher law of the whether geographically or ideologically, Medea, gods who have potentially abandoned her. While Jesus, and his Apostles are forced into positions of she may remain unsure about her own goodness, subservience by the societies in which they live. she is confident in the fact that her enemies have They all exist as minorities, whose actions conflict wronged her, and will be judged by a higher power with social norms. Because of the hostility they for doing so. In her interactions with Creon, we can receive from figures of authority trying to preserve see how this respect for the actions of gods results these norms, their relationships with even higher in disdain for those of men. -
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. -
PRODUCTION NOTES BBC FILMS and HBO FILMS
PRODUCTION NOTES BBC FILMS and HBO FILMS PRESENT THE SPECIAL RELATIONSHIP 92 minutes SHORT SYNOPSIS Coined by Prime Minister Winston Churchill, the term “special relationship” has come to represent the exceptionally close political, diplomatic, cultural and historical relations between Great Britain and the United States. Some transatlantic alliances have been more potent and more personal than others, among them Winston Churchill and Franklin Roosevelt; John F. Kennedy and Harold Macmillan; Margaret Thatcher and Ronald Reagan; and Tony Blair and Bill Clinton. At least for a time. THE SPECIAL RELATIONSHIP follows Blair’s journey from political understudy waiting in the wings of the world arena to accomplished prime minister standing confidently in the spotlight of center stage. It is a story about relationships, between two powerful men, two powerful couples, and husbands and wives. The time is 1996, and the Blairs and the Clintons are a unique foursome – each of them an extremely bright lawyer – with a kinship forged in shared ideology and genuine affection. When world events and personal watersheds shake the very foundation of their relationship, the men and their wives must come to terms with the ephemeral nature of power and, oftentimes, friendship. As the film begins, there are many similarities between Tony Blair and Bill Clinton, both center-left politicians driven by personal ambition, yet equally driven by a belief they can change the world and do a great deal of good. What starts as the formality of friendship between two national figures evolves into a genuine connection, a meeting of kindred spirits, of ideological soul mates in their domestic agendas. -
Little Angel Theatre Announces Macbeth Soundtrack Casting
Little Angel Theatre, 14 Dagmar Passage, London N1 2DN www.littleangeltheatre.com / Box Office 020 7226 1787 PRESS RELEASE: LITTLE ANGEL THEATRE ANNOUNCES MACBETH SOUNDTRACK CASTING A group of extraordinary actors are joining Little Angel Theatre to record the soundtrack of its puppetry production of MACBETH. The stunning visual imagery of the production’s puppetry will be matched by a world class vocal soundtrack, which opens for previews on 5th October (press show 10th October, 7.30pm). The role of Macbeth will be played by Nathaniel Parker, recently seen in the West End production of The Audience, starring Dame Helen Mirren, and well-known for his role in the BBC’s Inspector Lynley Mysteries. Nathaniel began his career at the RSC and returns to them for their 2013 winter season. Award-winning actress Helen McCrory will play the part of Lady Macbeth. Helen has had a wide career in theatre, film and TV, including a 2006 Olivier Award nomination for her role in As You Like It. In the same year she also appeared as Cherie Blair in the film The Queen. In 2012 she appeared in The Last of the Haussmans at the National Theatre, and has been seen recently in the James Bond film Skyfall and as Narcissa Malfoy in the Harry Potter films. Donald Sumpter will play the part of King Duncan, drawing on considerable previous Shakespearean experience in roles such as Claudius (Hamlet at Young Vic) and Marcus Andronicus (Titus Andronicus for the RSC). TV viewers will know him from his role as Kemp in Being Human and Maester Luwin in the HBO series Game of Thrones. -
Medea |Sample Answer
Medea | Sample answer 2006 Higher Level Exam Question What insights does Euripides’ play “Medea” give us into the different ways women and men viewed marriage at the time? There is no denying that men and women had different views of marriage. Euripides provides excellent insights in the play Medea. This difference am be seen when Medea makes her first speech to the chorus after finding out Jason is interested in marrying another. Medea speaks of marriage almost like a trap. They are bought and sold like objects, taken from their homes and forced to lead a new life. Medea explains that women must always “Look to one man only.” She must stay at home and she is never allowed to be too intelligent. What is even worse is that men can wander and look for pleasure elsewhere if they get bored. “If a man grows tired of the company at home, he can go out, and find a cure for tediousness.” There is a double standard for men with regards to remaining loyal at this time. Men are allowed to be unfaithful but “for women, divorce is not respectable; to repel the man, not possible.” This clearly displays how women had to be faithful and constantly loyal in marriage whereas men could be as unfaithful as they liked and the marriage would still continue. It is clear that women viewed marriage as sacred and central to their identity. By Jason leaving Medea, he has taken everything away from her. As a result of her loss of status and power, the chorus and the nurse are completely on her side. -
Julie Nightingale Hair and Make-Up Designer
Julie Nightingale Hair and Make-Up Designer www.julienightingale.co.uk Film & Television Director Production Co & Producer Actors FACE TO FACE Dries Vos Eagle Eye Productions James Nesbitt Ed King Joley Richardson Antonia Thomas Richard E Grant Anne Marie Duff PEAKY BLINDERS Anthony Byrne Caryn Mandabach Productions Cillian Murphy Series 6 David Caffery BBC Paul Anderson Chris Ballantyne Helen McCrory JOSH David Schneider BBC Josh Widdicombe Series 2 & 3 Simon Mayhew Archer Elis James Beattie Edmondson Jack Dee Jennifer Saunders CHICKLIT Tony Britten Capriol Films John Hurt Coach House Films Eileen Atkins Phil Partridge Christian McKay Dakota Blue Richards JONATHAN CREEK David Sant BBC Alan Davies Series 5 Rosemary McGowan Sarah Alexanda DEATH IN PARADISE Dusan Lazarevic Red Planet Productions Don Warrington Series 3 Cilla Ware Tim Bradley Kris Marshall Sara Martins Ben Miller BIG BAD WORLD Sandy Johnson Comedy Central Films Blake Harrison Kate Daughton David Fynn Seann Walsh PARENTS Simon Delaney Objective Productions Sally Phillips Ben Farrell Tom Conti PHONESHOP Phil Bowker TalkBack Productions Emma Fryer Phil Bowker Tom Bennett Andrew Brooke PRIMEVAL Cilla Ware ITV Productions Hannah Spearritt Series 3 Mark Everest Tim Bradley Andrew Lee Potts Tony Mitchell Ben Miller Juliet Aubrey SILENT WITNESS Various BBC Emilia Fox Series 9 - 12 Tim Bradley Tom Ward George Ormond William Gaminara THE BUNKER Rob Green Millennium Pictures Jason Flemyng Daniel Figuero Eddie Marsan Jack Davenport MEAN MACHINE Barry Skolnick SKA Films Vinnie Jones -
The Deep Blue Sea
National Theatre Live broadcasts Terence Rattigan’s devastating masterpiece THE DEEP BLUE SEA from the Lyttelton stage to cinemas across the globe from 1 September ★★★★★ ‘This production is a stand-out. Helen McCrory is fantastic. Carrie Cracknell directs with total assurance’ The Times ★★★★★ ‘Stunning. Exquisitely sad. Beautifully judged’ Time Out ★★★★ ‘Intoxicating. Splendid new production. Tom Burke is excellent.’ Daily Telegraph ★★★★ ‘Helen McCrory floors you’ Sunday Times Carrie Cracknell’s acclaimed National Theatre production of Terence Rattigan’s, THE DEEP BLUE SEA will be broadcast live to cinemas around the world from the National’s Lyttelton Theatre on 1 September at 7pm. The Deep Blue Sea directed by Carrie Cracknell production designed by Tom Scutt, lighting by Guy Hoare, music by Stuart Earl, sound by Peter Rice and movement direction by Polly Bennett. Helen McCrory plays Hester Collyer; the full cast is James Alper, Marion Bailey, Katy Brittain, Tom Burke (Freddie Page), Hubert Burton, Adetomiwa Edun, Elsie Fallon, Nick Figgis, Nick Fletcher, Yolanda Kettle, Andrew Lewis, and Peter Sullivan. A flat in Ladbroke Grove, West London. 1952. When Hester Collyer is found by her neighbours in the aftermath of a failed suicide attempt, the story of her tempestuous affair with Freddie Page, a former RAF pilot and the breakdown of her marriage to a High Court Judge begins to emerge. With it comes a portrait of need, loneliness and long-repressed passion. Behind the fragile veneer of post-war civility burns a brutal sense of loss and longing. Terence Rattigan was one of the most influential playwrights of the mid-20th century.