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Medea as a Mother/Goddess, 2003.
A look at the Mother/Goddess as a tri-figured being to whom Medea is related in different aspects throughout the play.
1,332 words (approx. 5.3 pages), 5 sources, MLA, AU$ 64.95
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Abstract
This paper compares the Goddess Medea to the tri-figured Mother/Goddess. The virgin, mother, and icon images of the Mother Goddess all relate to Medea in different ways throughout the play. The paper includes in-text citations with bibliography.
From the Paper
"The Mother/Goddess is a manifestation of the overwhelming feminine attributes of the world in the first religions. The religions portray the power of the Mother/ Goddess to be both the creator and the destroyer of life. She also represents time, the creator of fate and provider of all destinies. The Mother/ Goddess is all knowing and spiritually represents wholeness and one complete cycle. The Mother/ Goddess represents the irrational aspects of life and nature with intuitive wisdom. Medea exemplifies all of these points as she learns of Jason?s deception. She then shows each aspect of the Mother/ Goddess as she sets her plan to murder the princess, the king and her children to destroy the life Jason has made for himself with his new bride.
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"Medea" ( Seneca ) and "Medea" ( Euripides ), 1999.
Compares the characters, incidents, themes, styles and language of these plays by Roman and Greek writers based on the same myth.
1,350 words (approx. 5.4 pages), 2 sources, AU$ 68.95
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Abstract
This study will compare two plays entitled Medea, by the Roman Seneca and the Greek Euripides. The focus of the study will be on the general superiority of Euripides' presentation of the tragedy. Despite the fact that the plays tell the same story, except for a few minor differences, the dramatic skills and story-telling flair of Euripides outshine the more leaden and much longer-winded Seneca.
From the Paper
"This study will compare two plays entitled Medea, by the Roman Seneca and the Greek Euripides. The focus of the study will be on the general superiority of Euripides' presentation of the tragedy. Despite the fact that the plays tell the same story, except for a few minor differences, the dramatic skills and story-telling flair of Euripides outshine the more leaden and much longer-winded Seneca. Seneca tends to create interminable-seeming speeches with little dramatic or expository reward, especially from his Chorus. In fact, the editors themselves excise one long and obviously irrelevant speech "of great detail" from the Chorus of Seneca (Seneca 318). In addition, Seneca's tendency to flowery language often stops the play in its tracks rather than deepening its emotional impact as the author must have intended. Euripides, on the other hand, uses down-to-earth ..."
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Goddess Flora.
This paper discuss the Roman Goddess, Flora, the goddess of fertility, of whom a statue dating back to the year 14 C.E., stands in the Vatican.
1,150 words (approx. 4.6 pages), 4 sources, MLA, AU$ 57.95
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Abstract
This paper explains that the statue of Flora embodies Roman contradictory attitudes towards female fertility and sexuality; sexuality was desirable for familial propagation, but female liberality in the sexual sphere was something Roman society wished to contain. The author points out that Flora, like most Roman deities, has a counterpart in Greek mythology called Chloris, who was mainly known as the relatively minor wife of the West Wind Zephyr, but Flora, who became much more important than the West Wind in Rome, was not Zephyr's wife, but his consort. The paper relates that the connection between sowing and open sexuality might be why prostitutes adopted Flora's festival as their own because, in an interesting twist, at an agricultural festival meant to honor the flowers, land, soil, and toil of farmers, part of the festival honoring Goddess Flora was held during the night, so prostitution became a more important component of the celebration.
From the Paper
"Flora wears a transparent-like garment that emphasizes and conceals the nudity of her figure in its artful drapes and beckons the gazer in a friendly and alluring way. Her palm turned open, as if making an offering. She wears a garland of flowers in her hair, as is typical of all statues of the goddess Flora. She strikes the viewer as both sensual, yet also motherly, traditional and womanly. She is nude and provocative in the way she extends her grasping hand to the gazer, but not intimidating in her beauty."
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"Medea" and "A Doll's House", 2005.
A comparative analysis of Euripides' "Medea" and Henrik Ibsen's "Medea" and "A Doll's House".
1,125 words (approx. 4.5 pages), 2 sources, AU$ 64.95
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Abstract
This paper examines two texts, "Medea" and "A Doll's House" and looks at how they support and/or challenge the western notion where the feminine is associated with the female and the masculine is associated with the male. It looks at how in both the stories the main characters Medea and Nora, start of as the 'typical' females but through out the story challenge many assumptions of how women should be.
From the Paper
"This essay examines how two stories, Medea and A Doll's House support and more importantly challenge our Western concept of what is 'male' and 'female', masculine and feminine. This essay will argue that through themes of sexuality, love, birth and empowerment both these stories challenge the notions that masculine equals male and feminine equals female. Euripides' Medea is an ancient Greek tragedy. It is a story of a jealous woman who sets out to revenge the betrayal of her husband, Jason. He has forsaken her, has decided to leave her for another woman and has ordered her banished. "
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Eliza Doolittle and Medea, 2007.
A comparative analysis of the characters of Eliza Doolittle, from George Bernard Shaw's "Pygmalion" and Medea, from Euripides' play, "Medea".
1,305 words (approx. 5.2 pages), 2 sources, MLA, AU$ 64.95
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Abstract
This paper compares the characters of Eliza Doolittle from George Bernard Shaw's "Pygmalion" and Euripides' Medea by considering their different strengths and weaknesses, and the modes of representation used to distinguish them. Some reflection is also given to the means the authors use to convey the nature of each character and the ways in which the changes within the character are expressed. Finally, an attempt is made to analyze the two characters through considering the ways in which they have changed by the end of the play.
From the Paper
" Although many critics have described Medea as being a woman that is transformed from someone who is suicidal and depressed into a person who is driven by anger and revenge, it is clear that Medea had always been a determined, strong woman. She had often used her magic powers to obtain what she wanted; shown through her actions in helping Jason obtain the Golden Fleece, the murder of her own brother, and through manipulating the daughters of Pelias to murder their own father. Instead, Medea is portrayed through Euripides, as a woman that kills while being completely sane, through an anger that is fuelled by pure jealousy. She is a woman scorned."
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Betrayal and Revenge in 'Medea', 2006.
A discussion regarding the emotions and pain that the character Medea endures, in the Greek myth 'Medea'.
1,587 words (approx. 6.3 pages), 1 source, MLA, AU$ 74.95
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Abstract
This paper discusses how betrayal always begins with a relationship of trust. The paper explains how the person who becomes the victim initially trusts the person who does the betraying. The paper uses this explanation of betrayal to understand the position of the Greek mythical legend, Medea, a woman who is exceptionally intelligent and also very angry.
From the Paper
"At first, Medea reacts to Jason's betrayal with extreme grief and even suicidal thoughts: "That lightening from heaven would split my head open. Oh, what use have I now for life? I would find my release in death and leave hateful existence behind me" (747:142-145). What begins as a terrible and unexpected blow producing pain and grief then progresses to murderous rage and a burning desire for revenge. As the children's nurse describes it, "...now there's hatred everywhere. Love is diseased" (744:16).Because Medea lives in a patriarchal culture where women have no rights, she cannot fight back openly (as a woman might do in Court today, for instance). Instead, she has to scheme and manipulate. The nurse describes her nature as full of "wildness," with a "bitter nature," and "proud hearted" (746:103-104). "
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Gods and Goddesses in 'The Odyssey', 2008.
This paper discusses "The Odyssey' by Homer, concentrating on the subject of gods and goddesses.
1,024 words (approx. 4.1 pages), 1 source, MLA, AU$ 52.95
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Abstract
In this article the writer introduces, discusses and analyzes the poem "The Odyssey" by Homer. Specifically, the writer discusses the various ways Homer made use of gods and goddesses in the story, and how they intervened in the lives of the mortals. Throughout this epic journey, Homer uses gods and goddesses to reward Odysseus for his bravery, loyalty, and belief in the gods and goddesses. Homer also uses gods and goddesses to illustrate that even the strongest mortals are no match for the gods when it comes to everything from epic battles to choosing when to return home. The writer concludes that Homer's use of the gods and goddesses in "The Odyssey" is a tribute to the belief systems of the time, and the ideas that the gods and goddesses have complete and absolute power over mortal men.
From the Paper
"The gods are constantly interfering with Odysseus during his journey back home, as well. Poseidon wrecks his ship out of anger, but often, it is his men and their lack of belief that gets in the way of his journey. For example, the men open the bag of wind that Aeolus, the god of winds, has given Odysseus to ensure his safe journey home, which ends up driving the ships far from their destination. Later, the men ignore the gods' warning and slaughter cattle belonging to the sun god Helios, and this leads to the shipwreck where all of them die. Homer is illustrating what happens when you do not listen to and appreciate the power of the gods. Odysseus does not question their wisdom or authority, and so, he survives. His men are constantly questioning and challenging the gods' authority, and they pay with their lives. This is a lesson for all mortals who read the story and do not accept the power and glory of the gods."
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"Medea" by Euripides and by Seneca, 2002.
A comparison of two versions of the story.
1,905 words (approx. 7.6 pages), 4 sources, AU$ 87.95
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Abstract
This paper compares the two versions of Medea, one by Euripides and another by Seneca. The Greek mythological Medea is known for her evil nature and dangerous passions, which drove her wild with jealousy, and she committed a series of murders to make her husband suffer. This paper examines the story of Medea.
From the paper:
"Medea is a despicable character of Greek mythology and Euripides later produced a play on her story. The Euripides?s version of Medea is the most popular though many others presented their own versions. Along with Euripides, Seneca also produced a well-known play on the subject. There have been slight differences in all available versions of Medea, but the plot remains the same. Medea was the princess of Colchis who fell in love with Jason and helped him obtain the Golden Fleece through her powers of Witchcraft. She knew magic and sorcery and often used her skills for her ulterior motives."
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"Medea", 2002.
An analysis of the emotional struggles throughout the classic Greek play "Medea" by Euripides.
958 words (approx. 3.8 pages), 1 source, MLA, AU$ 50.95
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Abstract
This paper describes Euripides? play "Medea" as a story about crimes of passion. Through the character of Medea, Euripides illustrates how one woman can become so overcome with rage and vengeance that she disregards all logic. The writer shows how Medea, through bitter revenge, destroys not only what is important to Jason, but to herself as well. Medea?s character demonstrates how one person can escape the realm of sanity and do irrational things in the heat of the moment causing irreversible damage.
From the Paper
"Medea?s weakness is revealed through her excessive love and devotion for her husband, Jason. When he leaves her, she is hurt. Her emotion is expressed when explains to the women of Corinth that her heart is ?crushed? and that her life has no pleasure left. The depth of her sadness is such that she says she wants to die, explaining that Jason was her whole life. (24) Medea?s pain quickly turns to anger, which in turn becomes an intense and irrational need for revenge."
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Medea, 2006.
A summary and analysis of Euripides' work "Medea".
1,706 words (approx. 6.8 pages), 5 sources, MLA, AU$ 80.95
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Abstract
This paper discusses, summarizes and analyzes one of the more famous works by Greek playwright Euripides, "Medea". The paper explains why some see the character of Medea as the villainess while others see her as a victim as much as a victimizer and that this later perspective suggests that the lesson to be learned from "Medea" is to stand up for what one believes in, and overthrow those who oppress and suppress.
From the Paper
"Euripides, one of the great Greek playwrights of yesteryears, even today, remains a constant favorite among readers, more so than Sophocles or Aeschylus could ever become. The reason for this phenomenon is that Euripides more often than not, believed in sacrificing or sidelining propriety and correctness in favor of metaphorical and rhetorical displays of verse, and this may be what made him better known than most of his contemporaries of the middle Ages, when the Classical Greek tragedies came into their own. Euripides's treatment of the genre referred to as the 'tragi-comedy', therefore, is well known for being tame at times, and completely rhetorical at others and the reader often gets a feeling that he is reading the speeches of a great orator than the work of a poet. Euripides was a trained athlete, and was also a famed painter; however, it was his poetry that won him great acclaim and wealth during his lifetime. (Euripides and his Tragedies)"
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The Goddess in the Hindu Tradition, 2002.
An exploration of the significance of the Goddess within the Hindu tradition.
4,192 words (approx. 16.8 pages), 17 sources, MLA, AU$ 161.95
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Abstract
A very involved and thorough examination through both primary and secondary textual sources of the figure of the Goddess within Hindu tradition. A history of Hinduism and the development of its deity plurality is outlined, with specific reference to the many and varied female deities. A more detailed history of the development of goddesses is included, outlining the symbolic and mythical purpose of the female figure to the male figure. The Shakti principle is discussed, along with specific Hindu philosophy as found in the numerous Puranas, or Hindu texts. The importance of the female aspect in life as creator is highlighted specifically in regards to the Tantric tradition. The paper's final conclusion outlines the underlying, two-fold way in which the Goddess has gained theological significance within the Hindu tradition.
From the Paper
"Goddesses have been worshipped throughout the world for thousands of years. However unlike most cultures, goddess worship persisted within the Hindu tradition and continued in to modern times using a combination of both traditional and original forms. Today goddesses exist alongside masculine deities as some of the most important figures within the Hindu pantheon. The Hindu tradition itself has not remained unchanged however. What is understood as ?Hinduism? today has been the result of a dynamic and ever-changing tradition which continues to evolve and adapt as time progresses. The nature of this spirituality is therefore such that it almost becomes impossible to identify one religion or one tradition that can be truly identified as ?Hindu.? Similarly, the concept of the goddess figure within this tradition has also changed, her theology evolving to reflect the differing stages of the Hindu tradition. As such, the significance of the goddess today does not reflect an accurate account of her historical place within this tradition. To discover the significance of the goddess today an exploration of the development of Hinduism is necessary, as well as an understanding of the transformation the goddess figure underwent from individuated identity to unified ?goddess? energy. This will thus lay the foundation for an examination of the two prime theological functions to which the goddess became attached for within the Hindu tradition."
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Medea: The Monomythic Antihero Cycle, 2006.
A paper on the story of Medea as the anti-hero.
1,526 words (approx. 6.1 pages), 4 sources, MLA, AU$ 73.95
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Abstract
This paper defines Medea as the anti-hero of the anti-monomyth. The author traces the stages of the myth of Medea and parallels them with the stages in a typical monomyth. By drawing the parallels, the author is able to show that the Medea myth is a parody of the standard monomyth, showing the phases play out in a manner that is antithetical to the typical monomyth.
From the Paper
"Joseph Campbell might well turn over in his grave to hear Medea's final murder of her children described as an example of the monomyth. Certainly, if one were to take into account other moments of Medea's life and her adventures with the Argonauts, it would be possibly --though difficult-- to make such an argument seriously. However, arguing that Medea's tale as told by Euripides is an example of the monomyth at work seems rather blind to the fact that the hero cycle is meant to be about the exaltation, rather than the denial, of life. The problem may be as simple as the fact that Medea is female. Many critics have noted that, "Joseph Campbell is widely acclaimed for his conception of the hero's journey. However it addresses only half the population by excluding females," (Johnson) and that as such a different schema may be necessary for approaching a woman's experience. Medea is not a hero-she is the goddess or temptress without whose aid a hero neither rises nor falls."
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Oedipus and Medea, 2007.
An essay comparing and contrasting the main characters of Sophocles' "Oedipus the King" and Euripides' "Medea".
1,857 words (approx. 7.4 pages), 2 sources, MLA, AU$ 86.95
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Abstract
The paper examines how both Oedipus and Medea are unfortunate, and ultimately tragic, main characters. The paper further examines how their respective their motivations, circumstances, behavior, and relationships, are entirely different: Oedipus is motivated by pride and Medea by revenge. The paper discusses how Oedipus' behavior is excessively, sometimes comically prideful while Medea's behavior is cunning and manipulative, alternately rational and irrational, and ultimately evilly terrifying. The paper concludes that despite these many differences, both characters ultimately destroy everything around them that they love most.
From the Paper
"Medea is a careful observer of others, with an uncannily accurate sense of which sorts of ruses they will fall for. Next, after talking Aegeus into giving her refuge in Athens, she convinces Jason to have Glauce to make the request to Creon that her and Jason's two children not be exiled from Corinth along with their mother. In exchange for this, Medea promises, the children will present Glauce personally with two gifts, a cornet and a dress: ". . . by the children's hand I will send to her gifts that far surpass in beauty, I well know, aught that now is seen 'mongst men, a robe of finest tissue and a chaplet of chased gold. But one of my attendants must haste and bring the ornaments hither" (Euripides, Medea [online text])."
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Goddess Worship, 2006.
This paper discusses the history of goddess worship from prehistoric times to current Wiccan and pagan beliefs.
2,960 words (approx. 11.8 pages), 6 sources, APA, AU$ 126.95
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Abstract
This paper explains that archeology and linguistic findings indicate that goddess worship in various forms has taken place since the Ice Age. The author points out that many experts believe that, during biblical times, as Christianity and Islam began to evolve, almost all pagan goddess worship was driven from society and religion, thus creating patriarchal societies with women subservient to men. The paper relates that more recently goddess worship has enjoyed a renewed popularity through (1) the spiritual practices of pagans and Wiccans and (2) the women's movement.
Table of Contents:
Introduction
History
Biblical Times Arrive
Keeping Them Down
Marija Gimbutas
Conclusion
From the Paper
"Goddess worship began long before any formal records were kept but there have been stories and illustrations throughout history that indicate goddess worship began in prehistoric times. From the beginning of time, mankind began to divide itself into societies that had two types of humans, the hunters and the gatherers. Humans are the only animal species on earth that understand life it finite. It ends and people die. Out of that understanding came the foundation for religious principles and practices."
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Goddesses, Agriculture, and Religion.
This paper discusses the move from truly cosmic religion of the goddesses to the modern monotheistic religions.
1,920 words (approx. 7.7 pages), 11 sources, MLA, AU$ 88.95
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Abstract
This paper relates that possibly modern monotheism arose not merely as a competitor with goddess worship, but as a reaction to the fundamental nature of goddess worship. The author points out that the shift to agriculture may have been made possible only through the civilizing influence of women who used their sexuality to manipulate men into settling down and, in so doing, provoked an unintentional backlash. The paper speculates that agriculture always arose from goddess worship, terminated in god worship and drifted slowly towards monotheism; therefore, some causality between these two must exist.
From the Paper
"If women created agricultural civilization and maintained it through a regime of restricted sexuality, then there may be some sense in the old Judeo-Christian myth that Eve?s own punishment would be that ?thy desire shall be to thy husband, and he shall rule over thee...? (Genesis 3:16). Male-oriented monotheism and patriarchy might both have easily arisen in this environment as a reaction not so much to Goddess worship as to overwhelming female power, which had stripped from men the easy freedom of his hunter-gatherer ways and forced him into an uncomfortable civilization. In conclusion, this scenario, though strange and removed from what one expects of history, explains why the goddess would have moved from a place of worship to a place of denigration, despite supposedly giving such gifts to mankind, and as an explanation of why monotheism might be allowed to develop."
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The Goddess, 2001.
This essay discusses gender roles of specific goddesses in Greek and Roman mythology.
1,720 words (approx. 6.9 pages), 20 sources, AU$ 80.95
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Abstract
This paper examines the role of goddesses in Greek and Roman mythology. The author discusses how they were worshipped in polytheistic cultures, how goddesses were portrayed as virgins, mothers, wives, always in relation to male counterparts. The paper looks at such goddesses as Hera, Demeter, Gaia, Aphrodite, Artemis, Athena, and more.
From the Paper
"Long ago, the image of the goddess appeared. Stone was carved and bone modeled after a reflection of a maternal figure. Her curvaceous body and falling breasts seem to be humanity?s first tangible image of life. From the beginning, the Great Mother was associated with nurturing and life giving. This notion, of Mother Earth as the bearer of all that is living, and the provider of sustenance of life, dates back to a time when we as humans, regarded ourselves as children of nature, and nature as divine, Baring & Cashford, The Myth of the Goddess. London : Penguin Books, 1991. pg. 5. Myths corroborate that women and goddesses were responsible for the discovery of food cultivation and ultimately the preservation of life. While the primacy of the goddess and the idea of the goddess as the creator are not seen in all civilizations, many do show evidence towards this sort of belief."
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