The Medusa Reader (Culture Work (Paperback))

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Ovid. Metamorphoses, Volume I: Books 1–8. Translated by Frank Justus Miller. Revised by G. P. Goold. Loeb Classical Library No. 42. Cambridge, Massachusetts: Harvard University Press, 1977, first published 1916. ISBN 978-0-674-99046-3. Online version at Harvard University Press. Méduse en Sorbonne.” Le Rire de la Méduse: Regards Critiques: ed. Frédéric Regard and Martine Reid. Paris: Honoré Champion, 2015.

New Retelling by Charlotte Higgins; Medusa Greek Myths: A New Retelling by Charlotte Higgins; Medusa

Stephenson, A. G. (1997). "Endless the Medusa: a feminist reading of Medusan imagery and the myth of the hero in Eudora Welty's novels." Main article: Cultural depictions of Medusa and Gorgons An embossed plaque in the Art Nouveau style from 1911 Perseus with the Head of Medusa (1554), Benvenuto Cellini Medusa (c. 1597), by Caravaggio Medusa is played by a countertenor in Jean-Baptiste Lully and Philippe Quinault's opera, Persée (1682). She sings the aria "J'ay perdu la beauté qui me rendit si vaine" ("I have lost the beauty that made me so vain"). Ovid, Metamorphoses, Brookes More, Boston, Cornhill Publishing Co. 1922. Online version at the Perseus Digital Library.Archetypal literary criticism continues to find psychoanalysis useful. Beth Seelig chooses to interpret Medusa's punishment as resulting from rape rather than the common interpretation of having willingly consented in Athena's temple, as an outcome of the goddess' unresolved conflicts with her own father Zeus. [20] Feminism Seelig BJ. The rape of Medusa in the temple of Athena: aspects of triangulation in the girl. Int J Psychoanal. 2002 Aug;83(Pt 4):895–911. doi: 10.1516/00207570260172975. PMID 12204171.

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Medusa was beheaded by the Greek hero Perseus, who then used her head, which retained its ability to turn onlookers to stone, as a weapon [4] until he gave it to the goddess Athena to place on her shield. In classical antiquity, the image of the head of Medusa appeared in the evil-averting device known as the Gorgoneion.No one understood the Sea God quite as much as this one particular fish did. Oftentimes following after him whilst he patrolled his domain. It was fond of his presence as much as he was of it. Choosing to stay by his side despite the weapon in his hand that he often carried. This fish couldn't have been any more ordinary. A simple creature that would wait for him despite the season change. Going as far if it meant they would be by each other's side. In Greek mythology, Medusa ( / m ɪ ˈ dj uː z ə, - s ə/; Ancient Greek: Μέδουσα, romanized: Médousa, lit.'guardian, protectress'), [1] also called Gorgo, was one of the three Gorgons. Medusa is generally described as a human female with living venomous snakes in place of hair; those who gazed into her eyes [ citation needed] would turn to stone. Most sources describe her as the daughter of Phorcys and Ceto, [2] although the author Hyginus makes her the daughter of Gorgon and Ceto. [3] Medusa remained a common theme in art in the nineteenth century, when her myth was retold in Thomas Bulfinch's Mythology. Edward Burne-Jones' Perseus Cycle of paintings and a drawing by Aubrey Beardsley gave way to the twentieth-century works of Paul Klee, John Singer Sargent, Pablo Picasso, Pierre et Gilles, and Auguste Rodin's bronze sculpture The Gates of Hell. [38] Flags and emblems Graves, Robert (1955). The Greek Myths. Penguin Books. pp.17, 244. ISBN 0241952743. A large part of Greek myth is politico-religious history. Bellerophon masters winged Pegasus and kills the Chimaera. Perseus, in a variant of the same legend, flies through the air and beheads Pegasus's mother, the Gorgon Medusa; much as Marduk, a Babylonian hero, kills the she-monster Tiamat, Goddess of the Seal. Perseus's name should properly be spelled Perseus, 'the destroyer'; and he was not, as Professor Kerenyi has suggested, an archetypal Death-figure but, probably, represented the patriarchal Hellenes who invaded Greece and Asia Minor early in the second millennium BC, and challenged the power of the Triple-goddess. Pegasus had been sacred to her because the horse with its moon-shaped hooves figured in the rain-making ceremonies and the installment of sacred kings; his wings were symbolical of a celestial nature, rather than speed. Several early classics scholars interpreted the myth of Medusa as a quasi-historical – "based on or reconstructed from an event, custom, style, etc., in the past", [16] or "sublimated" memory of an actual invasion. [17] [13]

Lesson 2: Medusa by Carol Ann Duffy - EDUTRONIC Lesson 2: Medusa by Carol Ann Duffy - EDUTRONIC

Although some of the excerpts were short and needed a clearer context, the work is recommended for its comprehensive exploration of Medusa through the ages, an exploration that reveals as much about each age as it does about the myth. Come along with me on this journey while she figures out secrets of her past and how everything happens for a reason

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Seelig, B. J. (2002). "The Rape of Medusa in the Temple of Athena: Aspects of Triangulation". International Journal of Psycho-Analysis. 83: 895–911. doi: 10.1516/3NLL-UG13-TP2J-927M. S2CID 28961886. Ovid, Metamorphoses 4.798: "the Sovereign of the Sea attained her love in chaste Minerva's temple" ( Brookes More translation) or "in Minerva’s temple Neptune, lord of the Ocean, ravished her" ( Frank Justus Miller translation, as revised by G. P. Goold) Whether Ovid means that Medusa was a willing participant is unclear. Hard, p. 61, says she was "seduced"; Grimal, s.v. Gorgons, p. 174, says she was "ravished"; Tripp, s.v. Medusa, p. 363 says she "yielded". In the original Latin text, Ovid uses the verb "vitiasse" which is translated to mean "violate" or "corrupt" line 798. Harrison's translation states that "the Gorgon was made out of the terror, not the terror out of the Gorgon." [13] a b Beolens, Bo; Watkins, Michael; Grayson, Michael (2011). "Medusa", p. 175 in The Eponym Dictionary of Reptiles. Baltimore: Johns Hopkins University Press. ISBN 978-1-4214-0135-5. a b c d Ellen Harrison, Jane (June 5, 1991) [1908]. Prolegomena: To The Study Of Greek Religion. Princeton, New Jersey: Princeton University Press. pp. 187–188. ISBN 0691015147.