The Medusa Reader (Culture Work (Paperback))

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WE UPDATE EVERY TUESDAY AND FRIDAY ❤️ Language: English Words: 15,200 Chapters: 12/100 Comments: 103 Kudos: 170 Bookmarks: 27 Hits: 2,925 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":

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

That is to say, there occurred in the early thirteenth century B.C. an actual historic rupture, a sort of sociological trauma, which has been registered in this myth, much as what Freud terms the latent content of a neurosis is registered in the manifest content of a dream: registered yet hidden, registered in the unconscious yet unknown or misconstrued by the conscious mind. [18] Psychoanalysis

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In which our fish/reader is reincarnated] Language: English Words: 3,623 Chapters: 3/? Comments: 18 Kudos: 151 Bookmarks: 28 Hits: 1,972 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. While ancient Greek vase-painters and relief carvers imagined Medusa and her sisters as having monstrous form, sculptors and vase-painters of the fifth century BC began to envisage her as being beautiful as well as terrifying. In an ode written in 490 BC, Pindar already speaks of "fair-cheeked Medusa". [6] Ovid, Metamorphoses 4.604–662. Roger Lancelyn Green suggests in his Tales of the Greek Heroes written for children that Athena used the aegis against Atlas.

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Higgins’s own volume is illustrated by the Turner prize-winning Chris Ofili, whose drawings are charming and airy, suggestive in spirit of Matisse’s pencil sketches. While they undoubtedly beautify an already alluring object, the deeper Higgins leads the reader into her forest of tales, the less necessary they feel. Full of rage and self-loathing, Medusa grows ravenous for connection, ‘a girl on the edge’ a b Johnston, Elizabeth (6 November 2016). "The Original 'Nasty Woman' ". The Atlantic . Retrieved 5 December 2018. But why should the Sea God care? The absence of one fish meant nothing compared to the hordes of children vacating his water daily. Elana Dykewomon's 1976 collection of lesbian stories and poems, They Will Know Me by My Teeth, features a drawing of a Gorgon on its cover. Its purpose was to act as a guardian for female power, keeping the book solely in the hands of women. Stephen Wilk, author of Medusa: Solving the Mystery of the Gorgon, questioned Medusa's enduring status among the feminist movement. He believes that one reason for her longevity may be her role as a protector, fearsome and enraged. "Only the Gorgon has the savage, threatening appearance to serve as an immediately recognized symbol of rage and a protector of women's secrets," wrote Wilk. [28]But first it must be said that […] there is, at this time, no general woman, no one typical woman. What they have in common I will say. But what strikes me is the infinite richness of their individual constitutions: you can’t talk about a female sexuality, uniform, homogeneous, classifiable into codes. Jane Ellen Harrison argues that "her potency only begins when her head is severed, and that potency resides in the head; she is in a word a mask with a body later appended... the basis of the Gorgoneion is a cultus object, a ritual mask misunderstood." [13] In the Odyssey xi, Homer does not specifically mention the Gorgon Medusa: When everything went downhill, so did the Queen. Language: English Words: 94,853 Chapters: 13/? Comments: 4 Kudos: 37 Bookmarks: 10 Hits: 2,299 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. The head of Medusa is featured on some regional symbols. One example is that of the flag and emblem of Sicily, together with the three-legged trinacria. The inclusion of Medusa in the center implies the protection of the goddess Athena, who wore the Gorgon's likeness on her aegis, as said above. Another example is the coat of arms of Dohalice village in the Czech Republic.

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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. Elizabeth Johnston's November 2016 Atlantic essay called Medusa the original 'Nasty Woman.' Johnston goes on to say that as Medusa has been repeatedly compared to Hillary Clinton during the 2016 presidential election, she proves her merit as an icon, finding relevance even in modern politics. "Medusa has since haunted Western imagination, materializing whenever male authority feels threatened by female agency," writes Johnston. [30] Beyond that, Medusa's story is, Johnston argues, a rape narrative. A story of victim blaming, one that she says sounds all too familiar in a current American context. 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]

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I had got distracted by the candlelight reflection off the man’s skin, like watching sunlight bounce off a copper kettle. I looked up to find them both smirking at me. ‘I- I don’t know!’ I could feel my snakes coil and hiss. ‘Just - just shut up!’ 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 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").

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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: You're a human, in servitude to the Gods in one of their endless spa halls of luxury. Though you've recently gotten a promotion to personal servant of the contestants. Language: English Words: 1,251 Chapters: 1/? Comments: 8 Kudos: 125 Bookmarks: 20 Hits: 2,180 The number of tags has reached its limit Language: English Words: 32,701 Chapters: 22/31 Comments: 10 Kudos: 89 Bookmarks: 12 Hits: 4,578 Campbell, Joseph (1968). The Masks of God, Vol. 3: Occidental Mythology. London: Penguin Books. pp.152–153. ISBN 978-0140194418. We have already spoken of Medusa and of the powers of her blood to render both life and death. We may now think of the legend of her slayer, Perseus, by whom her head was removed and presented to Athene. Professor Hainmond assigns the historical King Perseus of Mycenae to a date c. 1290 B.C., as the founder of a dynasty; and Robert Graves–whose two volumes on The Greek Myths are particularly noteworthy for their suggestive historical applications–proposes that 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. That is to say, there occurred in the early thirteenth century B.C. an actual historic rupture, a sort of sociological trauma, which has been registered in this myth, much as what Freud terms the latent content of a neurosis is registered in the manifest content of a dream: registered yet hidden, registered in the unconscious yet unknown or misconstrued by the conscious mind. And in every such screening myth–in every such mythology {that of the Bible being, as we have just seen, another of the kind}–there enters in an essential duplicity, the consequences of which cannot be disregarded or suppressed.Lccn 2001041823 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8961 Ocr_module_version 0.0.14 Ocr_parameters -l eng Old_pallet IA-WL-1200086 Openlibrary_edition