The main character of Maricla Boggio’s Medea is a modern Medea which, in a fictitious dialogue with a psychoanalyst, decides not to kill her rival nor her children. This solution, totally different from the one of the traditional myth, is made possible by the analytical process and the feminist achievements. However, Medea must go through the whole antecedent tradition: Boggio’s text includes the voices of previous Medeas (by Euripides, Seneca, Corneille, Cherubini, Niccolini and Anouilh) from which the modern character distances herself. This essay examines how the intertexts connect and interact with each other and with the modern perspective.
«Addio ricordi ingombranti»: l’interazione con i modelli nella Medea di Maricla Boggio
Elena Rossi Linguanti
2017-01-01
Abstract
The main character of Maricla Boggio’s Medea is a modern Medea which, in a fictitious dialogue with a psychoanalyst, decides not to kill her rival nor her children. This solution, totally different from the one of the traditional myth, is made possible by the analytical process and the feminist achievements. However, Medea must go through the whole antecedent tradition: Boggio’s text includes the voices of previous Medeas (by Euripides, Seneca, Corneille, Cherubini, Niccolini and Anouilh) from which the modern character distances herself. This essay examines how the intertexts connect and interact with each other and with the modern perspective.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
