The Medusa Reader (Culture Work (Paperback))
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COLUCCIO SALUTATI from On the Labors of Hercules c 13811391 translated by Lesley Lundeen Medusa as Artful Eloquence Hastings, Christobel (9 April 2018). "The Timeless Myth of Medusa, a Rape Victim Turned Into a Monster". Broadly. Vice . Retrieved 5 December 2018. SÁNDOR FERENCZI from On the Symbolism of the Head of Medusa 1923 translated by Olive Edmonds Medusa and Castration
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Dangerous, dark, obscure, unknown. Hélène Cixous did not mince words when she published “Le Rire de la Méduse” (“The Laugh of the Medusa) in 1975, where she claimed that these were the descriptors inscribed on the female body and psyche. Not only was Cixous revolutionary in her efforts to talk about a “dangerous” subject matter, the female body, women’s writing, and the need for love of the “Other,” but her call for such discussion was situated in a politically-tense time and a daring venue. “Le Rire de la Méduse” appeared as part of the aftermath of the events of May 1968, when factory workers and students spurred monumental revolts in France to fight against capitalism and oppressive institutions. These political events, which in part demanded the recognition of sexual inequality and the freedom of sexual expression, helped to spur the differentialist feminism movement in 1970s. Within this essay, Cixous exposes the patriarchal idea of women as mysterious, dangerous, and inferior, and explodes the idea of sexual difference by proposing a new meaning for the “feminine.” Ironically, Cixous’s “Le Rire de la Méduse” was published in an edition of a small French review ( L’Arc) focusing on the work of Simone de Beauvoir, who held a universalist view quite different from Cixous’s differentialist text. To everyone’s surprise, nestled within this edition of L’Arc was a manifesto for a new feminism that focused on the acceptance of difference (of others and of self) rather than reaching equality through sameness. She wrote Vested Interests: Cross-Dressing and Cultural Anxiety, a ground breaking theoretical work on transvestitism's contribution to culture. Other works include Sex and Real Estate:Why We Love Houses, Academic Instincts, Vice Versa: Bisexuality and the Eroticism of Everyday Life, Shakespeare After All, and Dog Love (which is not primarily about bestiality, except for one chapter titled "Sex and the Single Dog"). 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.
Hesiod, Theogony 281; Pseudo-Apollodorus, Bibliotheke Book II, part iv, nos. 1–3. "The Library: Books 1–3.9." Translated by J.G. Frazer, (Loeb Classical Library), Harvard University Press, 1921 (reprint), pp. 155–161. Ovid, Metamorphoses, Brookes More, Boston, Cornhill Publishing Co. 1922. Online version at the Perseus Digital Library.
Lesson 2: Medusa by Carol Ann Duffy - EDUTRONIC Lesson 2: Medusa by Carol Ann Duffy - EDUTRONIC
Méduse en Sorbonne.” Le Rire de la Méduse: Regards Critiques: ed. Frédéric Regard and Martine Reid. Paris: Honoré Champion, 2015. Medusa falls in love with a blind woman. Language: English Words: 268 Chapters: 1/1 Kudos: 86 Bookmarks: 2 Hits: 1,417 Wilk, Stephen (2000). Medusa: Solving the Mystery of the Gorgon. New York: Oxford University Press. ISBN 9780195124316.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",  or "sublimated" memory of an actual invasion.  
The Medusa Reader - Joseph Campbell Foundation
Harrison, Jane Ellen (1903) 3rd ed. 1922. Prolegomena to the Study of Greek Religion,: "The Ker as Gorgon" HÉLÈNE CIXOUS from The Laugh of the Medusa 1975 translated by Keith Cohen and Paula Cohen A Classic of Feminist Theory In 1940, Sigmund Freud's "Das Medusenhaupt ( Medusa's Head)" was published posthumously. In Freud's interpretation: "To decapitate = to castrate. The terror of Medusa is thus a terror of castration that is linked to the sight of something. Numerous analyses have made us familiar with the occasion for this: it occurs when a boy, who has hitherto been unwilling to believe the threat of castration, catches sight of the female genitals, probably those of an adult, surrounded by hair, and essentially those of his mother."  In this perspective the "ravishingly beautiful" Medusa (see above) is the mother remembered in innocence; before the mythic truth of castration dawns on the subject. Classic Medusa, in contrast, is an Oedipal/libidinous symptom. Looking at the forbidden mother (in her hair-covered genitals, so to speak) stiffens the subject in illicit desire and freezes him in terror of the Father's retribution. There are no recorded instances of Medusa turning a woman to stone.
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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.  Flags and emblems Aeschylus, Prometheus Bound 793–799; Edited and Translated by Alan H. Sommerstein. "Persians, Seven Against Thebes, Suppliants, Prometheus Bound", (Loeb Classical Library) Harvard University Press, 2008, p. 531.