I volti di Medea : Medea non deve morire

Abstract : The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known. For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art. We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea. The Medea myth is one of the most ancient that tradition has handed to us, but paradoxically, is perhaps the most 'modern' and scabrous among those ever known. For her mysterious character and, in some aspects, demonic, Medea has enjoyed vast fortune in ancient times as well as in modern and contemporary art. We will focus the dissertation on Christine de Pizan’s text, La Cité des Dames and the figure of Medea that emerges: the terrible Medea becomes, in the writing of Christine, the symbol of knowledge and female loyalty towards others, which is not only faithfulness in love, but total availability of body and soul. We will link the Christine’s Cité with Boccaccio’s De mulieribus claris and we will argue that Christine’s work is not a translation, a plagiarism, of the most famous work of our writer and poet. In the second part of the thesis, I will analyze the version of another special woman; showing that the faces of Medea are numerous and diverse: the Midea of Irina Possamai. Irina is, in fact, one of the first Italian librettiste and chose - as Christine did - to narrate her Medea in an opera that, not surprisingly, she called Midea
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http://docnum.univ-lorraine.fr/prive/DDOC_T_2015_0320_GIGLIELLO.pdf
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https://hal.univ-lorraine.fr/tel-01752214
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Submitted on : Thursday, March 29, 2018 - 1:38:38 PM
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Paola Gigliello. I volti di Medea : Medea non deve morire. Literature. Université de Lorraine, 2015. Italian. ⟨NNT : 2015LORR0320⟩. ⟨tel-01752214⟩

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