Abstract
The article discusses Pier Paolo Pasolini’s reinterpretation of the myth of Medea in his 1969 fi lm by placing it in a range of artistic contexts, primarily painting. It fi rst recounts the history of mythological sorceress from ancient Kolchida, known from Greek myths and Eurypides’s play. A number of artistic works dedicated to Medea are referred to, including Seneca’s tragedy, Lars von Trier’s movie, Christa Wolf’s novel, Victor Mottez’s and Thomas Satterwhite Noble’s paintings. The methodological framework is based on the work of critics such as Alicja Helman, Kinga Anna Gajda, Piotr Kletowski and Janusz Kossak.
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