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 Medusa is cursed. She's always known that. She was cursed with beauty and then cursed by Athena but apparently the gods refuse to leave her alone. She finally realizes how cursed she is when a blind princess stumbles upon her cave after running from her suitors. Language: English Words: 1,744 Chapters: 2/? Comments: 2 Kudos: 40 Bookmarks: 5 Hits: 1,145

Medusa - Dangerous Women Project Hélène Cixous and the myth of Medusa - Dangerous Women Project

Hard, Robin (2004). The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology". Psychology Press. ISBN 978-0-415-18636-0. Perseus beheading the sleeping Medusa, obverse of a terracotta pelike (jar) attributed to Polygnotos (vase painter) (c. 450–440 BC), collection of the Metropolitan Museum of Art Freud, Sigmund (Summer 2017). "Medusa's Head". The Standard Edition of the Complete Psychological Works of Sigmund Freud. The Hogarth Press. Vol. XVIII, p. 273 The legend of Perseus beheading Medusa means, specifically, that "the Hellenes overran the goddess's chief shrines" and "stripped her priestesses of their Gorgon masks", the latter being apotropaic faces worn to frighten away the profane.Would these two women learn to heal from their pasts and lead a new life together? Language: English Words: 937 Chapters: 1/? Comments: 2 Kudos: 6 Hits: 150 Hastings, Christobel (9 April 2018). "The Timeless Myth of Medusa, a Rape Victim Turned Into a Monster". Broadly. Vice . Retrieved 5 December 2018.

The Medusa reader | WorldCat.org

Yet it did nothing to hinder the small borrow growing in his chest as time wore on. A small haven for the fish to curl up in and make home of the cold heart residing within him. To de-naturalize conceptions of the female body as dangerous, Cixous unravels the relationship between sexual difference and fear through the Medusa. Medusa as femme fatale represents a delusion of the male gaze motivated by a fear of “castration,” or a loss of identity and authority. Contrary to emphasizing an essential identity of “woman,” the epigraph (a passage situated at the beginning of “Le Rire”) emphasizes the category of women and corresponding female sexuality as learned. Cixous’s essay, then, probes its readers to question the naturalization of women as a homogeneous, dangerous category: Pythian Ode 12). Noted by Marjorie J. Milne in discussing a red-figured vase in the style of Polygnotos, ca. 450–30 BC, in the Metropolitan Museum of Art; Milne noted that "It is one of the earliest illustrations of the story to show the Gorgon not as a hideous monster but as a beautiful woman. Art in this respect lagged behind poetry." (Marjorie J. Milne, "Perseus and Medusa on an Attic Vase" The Metropolitan Museum of Art Bulletin New Series, 4.5 (January 1946, pp. 126–130) 126.p.) The triple form is not primitive, it is merely an instance of a general tendency... which makes of each woman goddess a trinity, which has given us the Horae, the Charites, the Semnai, and a host of other triple groups. It is immediately obvious that the Gorgons are not really three but one + two. The two unslain sisters are mere appendages due to custom; the real Gorgon is Medusa. [13]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 Tripp, Edward, Crowell's Handbook of Classical Mythology, Thomas Y. Crowell Co; First edition (June 1970). ISBN 069022608X. What is relatively new is the way in which female mythological characters are now being placed at the centre of narratives in which they’ve traditionally been peripheral. Taking her lead from the likes of Pat Barker and Madeline Miller, Higgins’s Greek Myths: A New Retelling is narrated by female characters. Or rather, it’s woven by female characters, because to give voice to this very 21st-century impulse, she uses a classical literary convention known as ekphrasis, or the telling of tales through descriptions of striking works of art – in this case, tapestries. 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. NOT ALL EVENTS ARE CANONICAL IN THE ORIGINAL GREEK STORIES!!! Language: English Words: 14,228 Chapters: 7/? Comments: 2 Kudos: 12 Hits: 180