Abstract
Medea — simply to mention her name conjures up echoes and cross-connections from Antiquity to the present. The vengeful wife, the infanticidal mother, the frail, suicidal heroine, the archetypal bad mother, the smitten maiden, the barbarian, the sorceress, the abused victim, the case study for a pathology: for more than two thousand years she has challenged in literature, arrested the eye in paintings, reverberated in music, called to us from the stage. She demands the most interdisciplinary of study, from ancient art to contemporary law, genetics and medicine: she is no more to be bound by any single field of study than by any single take on her character.
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