The Medusa Reader (Culture Work (Paperback))

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Harrison, Jane Ellen (1903) 3rd ed. 1922. Prolegomena to the Study of Greek Religion,: "The Ker as Gorgon" NOT ALL EVENTS ARE CANONICAL IN THE ORIGINAL GREEK STORIES!!! Language: English Words: 14,228 Chapters: 7/? Comments: 2 Kudos: 12 Hits: 180 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 pure smut/nsfw ; minors do not interact! Language: English Words: 5,353 Chapters: 20/? Comments: 10 Kudos: 621 Bookmarks: 43 Hits: 12,254

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I wrote this maybe 3-4 ish years ago for a descriptive essay assignment (that's why the writing style is the way that it is) in school and I'm too in love with the concept to not share Medusa's visage has since been adopted by many women as a symbol of female rage; one of the first publications to express this idea was a feminist journal called Women: A Journal of Liberation in their issue one, volume six for 1978. The cover featured the image of the Gorgon Medusa by Froggi Lupton, which the editors on the inside cover explained "can be a map to guide us through our terrors, through the depths of our anger into the sources of our power as women." [26] The three Gorgon sisters—Medusa, Stheno, and Euryale—were all children of the ancient marine deities Phorcys (or "Phorkys") and his sister Ceto (or "Keto"), chthonic monsters from an archaic world. Their genealogy is shared with other sisters, the Graeae, as in Aeschylus's Prometheus Bound, which places both trios of sisters far off "on Kisthene's dreadful plain": Bullfinch, Thomas. "Bulfinch Mythology– Age of Fable– Stories of Gods & Heroes". Archived from the original on 2011-07-07 . Retrieved 2007-09-07. ...and turning his face away, he held up the Gorgon's head. Atlas, with all his bulk, was changed into stone. Hastings, Christobel (9 April 2018). "The Timeless Myth of Medusa, a Rape Victim Turned Into a Monster". Broadly. Vice . Retrieved 5 December 2018.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.

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Probably the feminine present participle of medein, "to protect, rule over" ( American Heritage Dictionary; compare Medon, Medea, Diomedes, etc.). If not, it is from the same root, and is formed after the participle. OED 2001 revision, s.v.; medein in LSJ. 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. 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.

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JEANPIERRE VERNANT from Death in the Eyes and In the Mirror of Medusa 1985 translated by Thomas Curley and Froma I Zeitlin Frontality ...

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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. Roof ornament with Medusa's head. Etruscan, from Italy, 6th century BC. National Museum of Scotland, EdinburghA different kind of venom courses through Crona's veins, it's one that always dissipates the light in their moments of happiness, a cursed family bloodline. Medusa Gorgon, the mother of Crona, had fused her child with the demon sword Ragnarok, creating an unforgiving life for her offspring, slowly transforming Crona throughout the traumatic years and giving them untapped power and potential to become a truly higher being from the brimstone earth down below. Now a teenager, Crona's vain attempts at a normal life have often been forfeit, all they've ever known was completing soul harvests of those unfortunate enough to cross their path, making Crona long for a peaceful future, but there can be no peace without penalty. The brutal world of Soul Mayhem is a living hell, full of beings from above, below and beyond the galaxy that are willing to kill Crona and Ragnarok without hesitation, but neither one of them are willing to lie down and accept death, not when a shining ray of hope still remains within this dark and brutal world of Mayhem. Language: English Words: 1,013 Chapters: 1/? Comments: 1 Kudos: 2 Bookmarks: 1 Hits: 31 WE UPDATE EVERY TUESDAY AND FRIDAY ❤️ Language: English Words: 15,200 Chapters: 12/100 Comments: 103 Kudos: 167 Bookmarks: 26 Hits: 2,841 FRIEDRICH NIETZSCHE from The Birth of Tragedy 1872 translated by Walter Kaufmann Medusa Apollo and Dionysus Main articles: Cultural depictions of Medusa and Gorgons and Greek mythology in popular culture Sources Primary myth sources

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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. Pratt, A. (1994). Archetypal empowerment in poetry: Medusa, Aphrodite, Artemis, and bears: a gender comparison. Bloomington: Indiana University Press. ISBN 0-253-20865-3COLUCCIO SALUTATI from On the Labors of Hercules c 13811391 translated by Lesley Lundeen Medusa as Artful Eloquence Medusa has always already been queer, like literature. Queer is a torsion, a twist. Well, Medusa’s emblem, her hair, is a tuft of twists. The twisting is her signature: it’s about producing twists, about not going in a straight line. 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 She was educated at Swarthmore College (B.A., 1966; L.H.D., 2004) and Yale University (Ph.D., 1969). 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." [19] 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.