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Germany: Myth and Apologia in Christa Wolf’s Novel Medea. Voices
Yixu Lü
PORTAL : Journal of Multidisciplinary International Studies , 2004,
Abstract: In 1995, Christa Wolf, the most eminent author of the former German Democratic Republic, published the novel Medea. Voices. It takes up themes which have been worked and re-worked in European literature since Euripides’ tragedy, and which go back into pre-literary myth. Medea has many guises: she can be seen as the monstrous mother; as the victim of Jason’s fickle nature; or as the perpetual ‘stranger’, the woman who has given up all her origins, only to be disowned. Christa Wolf’s novel concentrates on the impossibility of dialogue—not merely between different cultures, but also between the sexes within one culture. ‘Estrangement’ has come to define the human condition. In this—by no means novel—generalization of cultural antagonism to explain what makes human society violent, there lie many unanswered questions. The hypothesis I offer is that such fictions lead to inaccurate generalizations if we take them as more than just elaborations of tragic myth. My paper will seek to narrow this focus once more—in a critical sense—by posing the question: to what extent does this specific adaptation of the myth by Christa Wolf reflect problems within the society of reunified Germany post-1989?
Romantismo como vis?o feminista: a busca de Christa Wolf
Sayre, Robert;L?wy, Michael;
Trans/Form/A??o , 1996, DOI: 10.1590/S0101-31731996000100001
Abstract: few modern authors have given such powerful expression to the "elective affinity" between romanticism and feminism as chnsta wolf. when we refer to her as a romantic writer, we not only take into account her explicit interest in romantic women authors from the early 19th century, such as caroline von gunderrode and bettina von arnim, but also, and above all, her own romantic worldview, and its relationship to marxism and feminism.
Miroir et mémoire. La deuxième personne et l’autobiographie : Trame d’enfance de Christa Wolf et Enfance de Nathalie Sarraute
Hélène Müller
Trans : Revue de Littérature Générale et Comparée , 2009,
Abstract: L′autobiographie est a priori le règne du Je , mais dans Trame d′enfance, la romancière allemande Christa Wolf évoque son enfance et son adolescence sans recours à la première personne. L′instance narrative se scinde en un elle pour désigner l′enfant-personnage et un tu pour le sujet écrivant. Ce dispositif narratif invite à la comparaison avec Enfance de Nathalie Sarraute. Les deux textes font entrer la démarche autobiographique dans l′ ère du soup on et éclater l′unité fallacieuse du Je . As a genre, autobiography is the natural domain of the first-person narrative, but in Patterns of childhood, the German novelist Christa Wolf relates her childhood and adolescence without ever recurring to the first person. The narrator is split into the third-person “she”, to refer to the child as a character of the narrative, and the “you” of the second person singular to refer to the writer. This narrative set-up invites a comparison with Nathalie Sarraute’s Childhood. Both texts destroy the fallacious unity of the first-person narrative, thus placing the autobiographical genre in our “age of suspicion”. La autobiografía es, a priori, el reino del "Yo", sin embargo, la escritora alemana Christa Wolf evoca en la novela Trama de infancia su infancia y su adolescencia sin recurrir a la primera persona. La instancia narrativa se escinde en un "ella" para designar al ni o-personaje y un "tú" para referirse al sujeto que escribe. Este dispositivo narrativo invita a compararlo con el libro Infancia de Nathalie Sarraute. Ambos textos consiguen que este procedimiento autobiográfico entre en la “era de la sospecha” y que se fragmente la unidad falaz del "Yo".
Dire que je n'arrive à dépasser les choses qu'en écrivant! L'écriture comme médium thérapeutique. Approches spécifiques croisées en littérature européenne (Christa Wolf, Serge Doubrovsky) et en interventions sociales  [cached]
Martine Schnell
m@gm@ , 2010,
Abstract: Notre article se donne comme objectif de considérer l'écriture comme médium thérapeutique et expression privilégiée de la souffrance en analysant les aspects suivants. L’écrivain allemand Christa Wolf, née en 1929, a entrepris une écriture autobiographique dans son roman Christa T. (1968), où elle relate son amitié avec Christa Tappert, leurs années d'études en Allemagne de l'Est, puis le calvaire de la maladie de Christa T., atteinte de leucémie. Pour Christa Wolf, l'écriture permet de surmonter le travail de deuil de son amie. L’écrivain fran ais Serge Doubrovsky, né à Paris en 1928, considère aussi l’écriture comme medium de la souffrance, comme acte thérapeutique, écriture post-analytique après les séances chez son psychanalyste. Dans le cas de publics spécifiques (apprenants étrangers, publics hospitalisés - Programme Culture à l'h pital -), l'écriture constitue un médium bénéfique pour libérer la souffrance lors d’ateliers d'écriture.
Synthesis (La Plata) , 2004,
Abstract: this is a review-article on a very large anthology of writings around the figure and the myth of medea in classical as well as modern literatures (particularly emphasizing literature in spanish), compiled and edited by aurora lópez and andrés poci?a, professors of latin literature in the university of granada. even though a descriptive mood predominates, the author has not shied away from giving personal assessment of many articles. the thread of the volume, although it offers an extraordinary variety, must be found, according to the reviewer, in the senecan medea rather than in the euripidean model. the greek masterpiece may be more complex to us, but it is at the same time more distant. seneca is richer in potentialities that have not yet been wholly exploited.
Em memória de Christa T.: Domina o e exclus o social  [cached]
Rosani Ketzer Umbach
Literatura e Autoritarismo , 2008,
Abstract: This paper intends to point out the central themes in Christa Wolf’s narrative Em busca de Christa T.: domination and social exclusion, both related to memory and writing. Published first in 1968 in the former German Democratic Republic, thus in an authoritarian context, the book caused polemics in the GDR academic spheres because of its contradiction to the official conception of literature of that time. Now, forty years afterwards, Wolf’s narrative can be appreciated for its inherent social criticism, for its characterization of a society which excludes people, causing disillusionment and melancholy.
Medea contro il diritto romano  [cached]
Loretta Baldini Moscadi
Storia delle Donne , 2005,
Abstract: Medea lands at Roman literary world with the features fixed by the long way gone in the Greek myth and literature. In Rome however Medea’s tragic myth is modified by some anthropological variations: Seneca’s drama, for example, cannot leave aside the sociological and juridical context in which the poet-philosopher is active, and all this causes interesting developments in Medea’s character.
MEDEA: a DSGE model for the Spanish economy
Pablo Burriel,Jesús Fernández-Villaverde,Juan F. Rubio-Ramírez
SERIEs , 2010, DOI: 10.1007/s13209-009-0011-x
Abstract: In this paper, we provide a brief introduction to a new macroeconometric model of the Spanish economy named MEDEA (Modelo de Equilibrio Dinámico de la Economía Espa olA). MEDEA is a dynamic stochastic general equilibrium (DSGE) model that aims to describe the main features of the Spanish economy for policy analysis, counterfactual exercises, and forecasting. MEDEA is built in the tradition of New Keynesian models with real and nominal rigidities, but it also incorporates aspects such as a small open economy framework, an outside monetary authority such as the ECB, and population growth, factors that are important in accounting for aggregate fluctuations in Spain. The model is estimated with Bayesian techniques and data from the last two decades. Beyond describing the properties of the model, we perform different exercises to illustrate the potential of MEDEA, including historical decompositions, long-run and short-run simulations, and counterfactual experiments.
Faszination einer Kindsm rderin. Medea im 20. Jahrhundert Fascinated by a Child Murderer. Medea in the Twentieth Century  [cached]
Barbara Feichtinger
querelles-net , 2007,
Abstract: Die Berliner Literaturwissenschaftlerin Inge Stephan interpretiert ein beeindruckendes Panorama von Medea-Bearbeitungen in Literatur, bildender Kunst, Film und Musik. Sie spürt in ihrem Buch zur Medea-Rezeption im 20. Jh. in h chst differenzierter und anregender Weise den vielf ltigen künstlerischen Auseinandersetzungen der Moderne mit einer in vieler Hinsicht provozierenden Frauengestalt der Antike nach. The Berlin-based literary scholar Inge Stephan interprets an impressive panorama of the treatments of Medea in literature, the visual arts, film, and music. In her book on Medea reception in the twentieth century, Stephan traces the numerous modern artistic approaches to this quite provocative female figure of antiquity in a highly differentiated and thought-provoking manner.
Jenseits von Christa Wolf – marginalisierte Schriftstellerinnen in der Honecker- ra Beyond Christa Wolf-Marginalised GDR Women Authors of the Honecker Era
Beate Ihme-Tuchel
querelles-net , 2001,
Abstract: Anne Lequy geht es in ihrer aus feministischer Sicht geschriebenen literaturwissenschaftlichen Studie um den Ort“, um also um das Zuhause“, um Desorientierungen“ und um den Schwerpunktverlust“ in den Arbeiten von weniger bekannten Schriftstellerinnen der Honecker- ra. Sie untersucht, wie das DDR-Milieu“ deren Schaffen beeinflusst hat, ob sie sich der Doppelmoral hinsichtlich der angeblich erreichten Gleichstellung von Mann und Frau bewusst waren und wie sie auf diesen Betrug“ reagierten. In her feminist-informed literary analysis of the works of lesser known women authors of the Honecker era in the GDR, Lequy focuses on themes of the local, the home, of disorientation and loss of centre. She examines how the East German environment influenced the creative efforts of these authors. Lequy furthermore explores whether these authors were aware of the GDR’s double standard with respect to the alleged equality of men and women and how they reacted to this deception.
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