Read Medea. Stimmen. by Christa Wolf Online

medea-stimmen

Als Frau des Argonauten Jason lebt Medea in Korinth, wohin sie ihm aus ihrer Heimat Kolchis gefolgt ist. Im königlichen Palast Korinths gerät sie in ein Spiel aus Verleumdungen, Intrigen und Lügen. Der Kampf um die Macht steht im Mittelpunkt, und Medea soll als Sündenbock geopfert werden. Die Medea der griechischen Tragödie, die Barbarin, Giftmischerin, die rachsüchtige MöAls Frau des Argonauten Jason lebt Medea in Korinth, wohin sie ihm aus ihrer Heimat Kolchis gefolgt ist. Im königlichen Palast Korinths gerät sie in ein Spiel aus Verleumdungen, Intrigen und Lügen. Der Kampf um die Macht steht im Mittelpunkt, und Medea soll als Sündenbock geopfert werden. Die Medea der griechischen Tragödie, die Barbarin, Giftmischerin, die rachsüchtige Mörderin – hier wird diese Frauenfigur aus dem jahrtausendealten Mythos gelöst, das überkommene Bild revidiert.In ihrem Erfolgsroman erzählt Christa Wolf die Geschichte der Medea neu und entwirft das Porträt einer eigenwilligen, ungewöhnlichen Frau....

Title : Medea. Stimmen.
Author :
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ISBN : 9783518460085
Format Type : Paperback
Number of Pages : 224 Pages
Status : Available For Download
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Medea. Stimmen. Reviews

  • Hadrian
    2019-04-06 23:59

    This novel presents us with a retelling of the old story from Apollonius of Rhodes and Euripides. Medea, the vengeful witch, child-killer, and vessel for supernatural anger, is presented here as victim of political intrigue and the paranoid fool's need for an enemy. She is furious here, but it is a just rage.This book is a series of eleven monologues, ranging from taut, focused lamentation to unbounded rage. Even with this array of voices, Medea dominates the narrative, desperate to reclaim the final telling of her own life. On it's own, this is a powerful and emotive book, but it takes on greater meaning if you pry into the author's life. From 1959 to 1961, Wolf an informer for the East German secret police - the Stasi. Even if it was only for a brief period, and even if she later distanced herself from the regime, she still defended her actions. Why do this? Is it just mythologizing one's former home? If that's the case, she unsubtly mythologizes East Germany as something primitive and vaguely equal, and West Germany as rich, materialistic, greedy, and thus bad. Or would it be an attempt to explain and justify why one would commit violence or speak lies? If so, perhaps this book is an exposition of her own reasoning.

  • pax
    2019-04-16 23:10

    There is a part of me which is Medea. There is a part of me which is Kassandra. Each of these parts hurts terribly. They force me to walk towards the abyss, step by step. They force me to raise my voice when it would be best - for me - to stay quiet.Oooh, they are not always strong. But they are there.There have been better reviews of the book that I will ever be able to write. So - just go and read. It's frighteningly easy to turn the pages. The text flows and you know where it goes, oh you know, and still you have to read on.You hear Medea on the other side of the paper wall between the millennia. And you walk with her and with the others, blessed and cursed into this existence. And for a moment you are glad that you live today. And then the illusion goes away and you know, that things are not better. Different, perhaps, but human nature has not changed, not yet and not in our lifetime.And because it's Margaret Atwood who is quoted on the backside of my edition, praising Christa Wolf for the book - a praise more than earned: everything I missed it Atwood's ‘Handmaid's Tale’ is here. A perfect and sharp diamond knife.

  • Gattalucy
    2019-04-24 22:43

    Come ti smonto un mito...Quindici talenti d'argento sarebbero stati versati ad Euripide, il grande drammaturgo greco, per ripulire, con una disinvolta cosmesi, la coscienza e la reputazione dei Corinzi, e dei suoi uomini al potere. Non potevano far sapere che ad uccidere i figli di Medea erano stati loro, c'era da inaugurare l'Expò, pardon, i grandi Giochi della città. Serviva un capro espiatorio, comunque una notizia per sviare le chiacchiere, gli scandali, i processi in atto. E Medea, con quella sua pretesa superiorità e arroganza, se l'era cercata...Così, per meritarsi la mazzetta, cosa si può trovare di meglio dell'accusa più infamante della violenza sulla propria prole?Perchè la storia la scrivono i vincitori, e il mito, questo, l'hanno scritto gli uomini.Invece è una Medea ostinata nel fare sempre ciò che è giusto fare, piuttosto che ciò che conviene, quella della Wolf. Nessuna traccia della donna gelosa e passionale che si oppone alla ragione degli uomini.Una donna che fa paura, perchè ti costringe a fare i conti con la tua vigliaccheria, con l'opportunismo, a costo della vita. Medea quasi non se ne avvede, o si crede protetta dalla verità, così corre sul filo di un crinale che divide, per tutto il libro, ciò che è giusto da ciò che conviene.Un'arroganza che i Corinzi, maschilisti fino al midollo, non le perdoneranno.Ma, nel mio narcisismo perverso, mi permetto di dedicare una pagina di questo libro alle 101 donne che in Italia, dall'inizio dell'anno, hanno osato, come Medea, guardare dritto negli occhi chi aveva giurato di amarle ma si sarebbe rivelato, poco dopo, il loro assassino....Era troppo. Non dovevo tollerarlo. Potevo avere ben altri comportamenti. Lasciare libero corso alla mia ira. Andarle addosso e sbatterla contro la parete. Non si offende impunemente Giasone. Doveva rendersi conto che Giasone è in grado di farsi crescere dentro una bella rabbia virile contro i raggiri delle donne, è in grado di essere uomo di grande forza, se sente che gli si sottrae la carne morbida dentro la quale è sprofondato, prima che gli occhi lei li chiuda, e giri la faccia, e lasci che l'irreparabile accada...Sì. Ho capito. L'intenzione è questa. Dobbiamo riprenderci le donne. Dobbiamo spezzare la loro resistenza. Solo così disseppelliremo ciò che la natura ci ha dato, la voglia che tutto travolge.E infatti, nella vita reale, come diceva un tempo, una cara amica anobiana...Hanno cercato di farmi passare per Medea, versione Euripide naturalmente, ma non ci sono riusciti.Mi avevano suggerito la vendetta di Clitemnestra, ma non ne ho avuto il coraggio. Ho rivendicato il diritto di presentarmi in giudizio come Gea, con il solo scopo di difendere la prole dalla ingordigia di Crono.Non è servito a nulla.Il mito costruito abilmente attorno ad una menzogna resiste alla verità.Ed è a questo punto che mi sono sentita Medea.Questa Medea. Quella della Wolf.

  • Simona
    2019-04-13 02:43

    Ho letto questo libro assaporando parola per parola e, a lettura ultimata, mi rammarico di non aver conosciuto" prima questa scrittrice, perché mi ha dato e regalato moltissimo. Christa Wolf ribalta la "Medea" di Euripide, la madre che ha ucciso i propri figli raccontandoci la sua "Medea", una donna determinata, saggia, depositaria di un segreto sottoposto nel suolo di Corinto per il quale venderà cara la pelle. Questo romanzo, che forse è riduttivo definire in questo modo, è un tuffo nella storia, nel mito che ci permette di cogliere una rilettura sempre attuale, ovvero la prevaricazione del mondo maschile sul femminile. E' emozione, è poesia, è commozione, è verità.

  • Aubrey
    2019-04-05 04:55

    Do we let ourselves go back to the ancients, or do they catch up with us? No matter.A great deal of fan fiction is written to the tune of reacting to earlier material bloated with populist credibility with "What the fuck is this shit." Sometimes it'll be the politer shade of Shakespeare smoothing out and filling in the gaps of his stolen histories with nary a trace of his authorial human self. Other times an I, Tituba, Black Witch of Salem will rise out of the words of a Maryse Condé and run roughshod over evidence and genre and reality in equal measure. Milton preferred shitting on everything and trusting that his prose would save him, which it and his pasty skin and cisnormative dick did in the long run, canonically speaking, but that doesn't make his Paradise Lost any more fundamentally original. The most emphatic, however, would have to be Wolf (not Woolf, although I adore her works as well) and her kind. Ancient Greeks were chosen by Europeans as heralded ancestors for more reasons than the vainglorious and nonsensical theory that is "race", and to an Anglocentric reader such as I, this is easily explained by when, at a particular point in history, Englanders could sing "The Queen is dead. Long live the King."Do you know what they're looking for, Medea? she asked me. They're looking for a woman who'll tell them that they're not guilty of anything; that the gods, whom they worship by chance, compel them in their undertakings. That the track of blood they leave behind is proper to their male nature as the gods have determined it.There are a lot of people who believe the world is only five hundred years old. They wave away the rampant normalization of the white male as the norm as a biological destiny, throw tantrums when you point out how said biology breaks down the "white" and the "male" and then some, then nod solemnly to themselves when you decide you're better off talking to people whose nightmares are of oppression and fear rather than immigrants and increased taxes. Very few of that sort would pick up a book like this, but you can rest assured they were too busy being threatened by what it had to say to do the customary thing of clinging tightly to "objectivity" in the fact of castration and the other breeds of damage the maenads can wreak. Look, the woman who tore men to pieces were just a facet of the times, and the way in which the narrative uncritically portrays this is just the author embodying the mindset of the character as all authors rightfully should. If you're threatened by this past fiction mirroring certain aspects of your modern day reality: sucks for you.For the first time I found solace in the fact that I don't have to live forever.It's not as triumphant as that, of course. The point of tragedies isn't to solve them. The only way that happens is when the tragedy no longer strikes a common chord, and what with the word "common" becoming ever increasingly more complicated by the fact that "common" once meant "top dog", tragedy is accordingly becoming increasingly more complicated by a lack of both the refrigerators and the bodies of Others with which to fill them. Medea has her share, but in Wolf's take, the boy may have been disemboweled in an incestuous way, but not in the way you think you know. The daughter may have disappeared, but not for the power of any who end the narrative in exile. The wife may have been driven to her doom, but there is a vast different between accursed and escape. The children are gone, long live the children, but there is more than one species in the animal kingdom wherein the father eats their young.I didn't like this nearly as much as The Quest for Christa T., but when one is comparing absolute favorites to more mortal works, one has to cut a bit of slack. It was mainly due to the fact that, when it comes to historical fictioning, however mythological, fellow favorite Memoirs of Hadrian is the yardstick. Multiple points of view made for a multifarious trip, but if a tragedy doesn't wrench the heart out of me, it means that the delivery showed its narratological seams too often to make for a truly effective downfall. The value of this, ultimately, lies in my observations of how others react to it, for race as well as gender is a concern, codified as they are now the traits of woolly hair and brown skin. I am grateful for Wolf for making this so explicit that even translation cannot be hid behind as last resort, for it will make dealing with the audience of a future miniseries adaptation that much easier. No, I say. You are not being faithful to the author's intent by following the customary route of blonde, blue, and white, white, white. You just hate.Incidentally, she then asked me, I don't know why, whether human sacrifice existed among us in the lands of the setting sun. Of course not, I said indignantly, she tilted her head to one side and looked at me searchingly. No? she said. Not even when the going is toughest? I still answered no, and she said thoughtfully, Well. Maybe that's really true.

  • Simona Bartolotta
    2019-04-24 07:04

    "Sai cosa cercano Medea? Cercano una donna che dica loro che non hanno colpe; che sono gli dei, oggetto casuale di adorazione, a trascinarli nelle loro imprese. Che la scia di sangue che si lasciano dietro fa parte della mascolinità così come gli dei l’hanno determinata. Grandi bambini terribili Medea. [...] Ma nessuno di loro sopporta la disperazione, hanno addestrato noi a disperarci, qualcuno, o qualcuna, deve pur portare il lutto. Se la terra fosse riempita solo dal rumore del macello e dalle urla e dal piagnucolio dei vinti, semplicemente si fermerebbe, non credi?"Leggerlo è stato un'esperienza incredibilmente forte. Non saprei come definirla. So che mi sentivo in apnea, che avvertivo di essermi immersa in un mondo tangibile e sfuggente allo stesso tempo, di aver amato lo stile della Wolf, che c'ho messo più di quattro giorni per riuscire a riprendermi abbastanza da buttare giù queste due misere parole che ho persino la presunzione di definire 'commento'. Ma so anche che questo libro non lo capirò mai. Che non sarò mai capace di comprenderlo a fondo. Perché non è di quelle opere che possono essere condensate in un semplice pensiero o in una semplice frase, è piuttosto una storia che spazia, si allarga, si ingrossa, tanto da non scorgerne né inizio né fine. Non riesco a pensare a Medea e avere le idee chiare. Forse deve passare un po' di tempo, ma credo che qualcosa si sia smosso dentro di me. Per capire, dovrò leggerlo e rileggerloe rileggerloe rileggerlo...

  • Terence
    2019-04-01 00:04

    It’s odd how, at times, my readings appear to converge or echo each other quite unconsciously. From two entirely different directions I determined to reread my collection of Emma Goldman’s writings and Christa Wolf’s Medea. And yet I found striking parallels between Goldman and Medea. Both women flee their homelands (Tsarist Russia and Colchis, respectively) when young, disillusioned with their countries. Both travel to an idealized land that promises a better life (America, ancient Greece). And both hook up with men who prove unreliable (Alexander Berkman, Jason). But aside from these rather superficial correspondences, the vital parallel is that both women fight to live in a world where they can freely express their individuality; and beyond that for a world where everyone can have the same opportunity. It can be disheartening to see how little progress we’ve made in the 72 years since Goldman died. Indeed, I could suggest that we’re rapidly becoming more and more like the societies both women fought against, making this book (and Emma Goldman) all the more relevant.For those unfamiliar with the story of Medea (and that may be a larger figure than I’d like to think considering the state of modern education :-), let me quote from Margaret Atwood’s introduction as she gives a reasonably concise outline:Aeson, king of Iolcus in Thessaly, had his throne usurped by this half brother Pelias. Aeson’s son Jason was saved, and sent away to be educated by the centaur Cheiron. Grown to manhood, he arrived at the court of Pelias to claim his birthright, but Pelias said he would surrender the throne only on condition that Jason bring back the Golden Fleece from Colchis – a demand which was thought to be the equivalent of a death sentence, as Colchis, situated at the extreme end of the Black Sea, was thought to be unreachable…. Jason had either to refuse the quest and give up all hope of the throne, or accept it and endanger his life. He chose the latter course, and summoned fifty heroes from all over Greece to his aid. These were the Argonauts – named after their ship – who after many perils and adventures arrived at last at Colchis…. There Jason demanded the Golden Fleece as his by inheritance.Aeëtes, King of Colchis, set more impossible conditions…. Jason was ready to admit defeat when he was seen by Princess Medea, daughter of Aeëtes, granddaughter of Helius the sun god, priestess of the Triple Goddess of the Underworld, and a powerful sorceress…. Overcome by her love for Jason, she used her occult knowledge to help him surmount the various obstacles and to obtain the Fleece, in return for which Jason swore by all the gods to remain true to her forever. Together with the Argonauts, the two lovers set sail by night; but once the alarm was raised, King Aeëtes and the Colchians followed them….Some say Jason killed Medea’s younger brother Apsyrtus… others, that Medea herself murdered the boy, dismembered him, and scattered the pieces in the ocean…. After several more escapades… the two, now lawfully man and wife, were welcomed at Corinth by its King, Creon….Jason, forgetting both his debt of gratitude and his vows to all the gods, forsook his loyalty to Medea. Some say he was swayed by the insinuations of Creon… others, that he was overcome by a new love; others, that he was impelled by ambition; but in any case he decided to repudiate Medea, and marry Creon’s daughter Glauce, thus becoming the heir to Corinth. Medea herself was to be banished from the city.Medea, torn by conflicting emotions… concocted a horrible revenge. Pretending to accept Jason’s decision and to wish for peace between them, she sent a bridal gift to Glauce – a beautiful but poisonous dress, which, when the rays of the sun hit it, burst into flame, whereupon Glauce in agony threw herself into a well. Some say that the people of Corinth then stoned Medea’s children to death; others, that she herself killed them, either to save them from a worse fate or to pay Jason back for his treachery. She then disappeared from Corinth, some say in a chariot drawn by dragons. Jason… abandoned by the gods whom he had foresworn, became a wandering vagabond and was at last crushed by the prow of his own rotting ship. (pp. ix-xi)As Atwood alludes and as one can read in Robert Graves’ The Greek Myths, there are many variations to the story. It was ancient when Homer composed The Iliad and its most ancient layers hearken back to a pre-Greek era when the Goddess in her many guises was the supreme deity and women more than the chattel of their male relations. It’s this most archaic stratum that Wolf mines to present her version of the myth. While it can be read as a strictly feminist tract, it shouldn’t be. It’s issues are far broader than a discussion of women’s place in society. It’s a critique of modern, capitalist (and, yes, male-dominated) culture, and – on a personal and the more important level – it’s an argument for the importance of retaining one’s integrity as a person in the face of enormous pressure to conform and submit. And that’s why I’ve revised my rating to four stars – it spoke to me more powerfully now than it did 15 years ago when I was – unfortunately – a less discerning reader.Wolf picks up the tale toward the end of Medea’s exile in Corinth. She and Jason are estranged, and she has long since lost any illusions she may have had about the nature of her erstwhile lover’s homeland: It is as corrupt and oppressive as Colchis was becoming under her father’s faltering grip. The story is told in six “voices”: Medea’s, of course but also Jason’s; Glauce’s; Agameda’s, a Colchian exile; Akamas’, Creon’s first astronomer; and Leukon’s, the city’s second astronomer.AGAMEDA: Agameda, one of the Colchian exiles who have followed Medea and a former pupil, is an angry young woman. Too weak to live up to the standards Medea sets for herself and others, Agameda embraces Corinth and accepts her role as a woman in it, though she ruthlessly manipulates the men around her to ruin Medea. Everything revolves around herself, and there’s no thought for others. As she notes:We spoke not a syllable about what this desired result might be. We made a game of our plans, which grew more and more refined, and played it in an unreal atmosphere, as though no one could be affected by our playing. If one wishes to think freely and effectively at the same time, this is a very useful method. It’s a kind of thinking, moreover, that we in Colchis haven’t yet recognized, and supposedly given only to men; but I know I have a talent for it. Only I practice it in secret. (p. 64)And she combines a colossal ego (p. 59) with low self-esteem (p. 58).If Agameda symbolizes anything in this myth, it’s the person who submits to oppression, then manipulates the system to feather her own nest, deluding herself that she has power over her destiny and others.JASON: If Agameda is the sly Quisling who betrays her own interests for short-term fantasies of power, Jason is one who submits and then does his best to remain unnoticed. He’s the gullible idiot who believes the lies and self-delusions. He doesn’t even pretend to manipulate events but whines incessantly about his powerlessness. Both of his chapters begin with a variation of chapter nine’s plaint: “I didn’t want any of this to happen but what could I have done?” (p. 165)GLAUCE: Glauce is burdened with a hideous secret (view spoiler)[her sister’s murder by her father (hide spoiler)], and it’s made her a physical and mental wreck. She suffers from seizures and headaches and nameless fears. Under Medea’s tutelage and care, she begins to overcome her frailties and become an individual. But when Creon exiles Medea from the palace, Glauce again is surrounded by the sycophants who only see her as a dynastic asset:What man, even if he’s her father, would want to touch a girl’s pallid unclean skin, her thin lank hair, her awkward limbs, even if she’s his daughter, isn’t it so, yes, the first thing I knew for certain was that I’m ugly; the woman whose name I don’t want to say anymore can laugh at me as much as she wants, she can teach me tricks, how I should carry myself, how I should wash and wear my hair, naturally I was taken in by all that, and I would almost have believed her, would almost have felt like any other girl; that’s my weakness, believing those who flatter me, though it wasn’t actually flattery, it was something else, something cleverer, it went deeper, it touched the most secret spot inside me, the deepest pain, which up until then I was able to display only to the god and will be able to display only to the god again from now on, forever and ever, that’s my sentence, I dare not think about it, it makes me sick, she taught me that, it makes me sick when I keep recalling to my mind those images of myself as an unlucky person, as a poor soul, but why, she said, laughing as only she can laugh…why, she said, do you want to suffocate your whole life under all this black cloth, she took off the black clothing I’ve worn as long as I can think…. She sewed the clothes for me…I ran through the halls with downcast eyes, one of the young cooks didn’t recognize me and he whistled at me after I passed, unheard-of, unheard-of and wonderful, oh how wonderful, but her black magic was just that, she let me feel something that wasn’t real, isn’t real, all of a sudden my arms and legs became graceful, or anyway that’s how it felt, but that was all deception, ridicule…and proof of all this is that now, when they’ve taken me away from her corrupting influence and given me back the dark-colored clothes I belong in, that now my arms and my legs, too, have lost their deceitful gracefulness again and no apprentice cook, no matter how stupid, is even going to think about whistling at me….[S]he was the one who tried to persuade me that I was free to think, I hate my father, and nothing would happen to him because of that thought, there was no need to feel guilty about it. That’s how her wicked influence on me began, today it seems incredible to me, outrageous, that I surrendered myself to it, that I reveled in my surrender to it, that was the wickedness in me, all at once it was free to present itself as my best side, my obsession with fancy dress, the pleasure I took in trivial diversions and in those childish games she made me play with Arinna. (pp. 106-9)Glauce’s voice is particularly difficult to listen to. Wolf manages to pull off making her characters both mythic symbols and real people, and nowhere better than with this 13-year-old girl whose life is destroyed by her father’s ambitions.AKAMAS: Akamas is the villain of the piece. Unlike Agameda, he actually does wield power over the lives of others. And he convinces himself that everything he does – the lives he destroys – is all for the good of Corinth. Echoing Jason, “we must do quite a few things that give us little pleasure” (p. 90) and “of course, the price one might be called upon to pay for this could be very painful.” (p. 95) But Wolf uses that echo of Jason’s complaint to illustrate how, ultimately, Akamas is as powerless as the Argonaut.While he admires Medea, Akamas has no qualms in abetting the schemes of Agameda and her other enemies among the Colchians or fanning the fears of the Corinthians. It removes a disruptive influence from the politics of Corinth.MEDEA: Medea is the ideal. The only truly adult person developed in the course of the novel. (We are introduced to Oistros, her lover, and Arethusa, a Cretan exile, who share her beliefs and live their lives as they wish but they’re secondary characters.) Her charisma is palpable to everyone she meets as is apparent in this excerpt where Jason describes their first meeting:Then again the woman, the one who came up to us in Aeëtes’s vine-covered court, was the opposite of the horrible corpse-fruit, or maybe it heightened the impression she made on us. The way she stood there, stooped over, in that red and white tiered skirt and close-fitting black top they all wear, and caught the water from the spout in her cupped hands and drank. The way she straightened up and notice us, shook her hands dry, and approached us frankly, taking quick, strong steps, slender, but with a well-developed figure, and showing off all the virtues of her appearance to such advantage….Of course it was odd, how she greeted us with her hands raised in the sign of peace, a sign proper only to the King or his envoys; how she openly gave her name, Medea, daughter of King Aeëtes and High Priestess of Hecate; how she desired to know our names and our destination, as though it were her right to do so, and I, taken by surprise, revealed to this woman what was meant for the King’s ears only. (pp. 32-3)Her refusal to compromise her beliefs added to the fact that she knows Creon’s secret make her a dangerous person in the eyes of the ruling elite. And those same qualities make the Corinthian populace fearful and angry since, as Agameda remarks, “they need their belief that they live in the most perfect land under the sun.” (p. 59)LEUKON: I saved Leukon for last because his voice spoke loudest to me. It’s not a terribly complimentary comparison but when he opened his chapter with the following, I was nodding my head in sympathy:I see plainly what will happen to her. I shall have to stand by and watch the whole thing. That is my lot, to have to stand by and watch everything, to see through everything, and to be able to do nothing, as though I had no hands. Whoever uses his hands must dip them in blood, whether he wants to or not. I do not want to have blood on my hands. I want to stand up here on the roof terrace of my tower, observing the milling throngs below me in the narrow streets of Corinth by day and bathing my eyes in the darkness of the heavens above me by night, while one by one the constellations emerge like familiar friends….Medea says I am a man who fears pain. I should like her to fear pain more than she does. (pp. 125-6)I liked this version of Medea a great deal. It may have strayed far from its deepest origins in the Neolithic and its reiterations down through the centuries but I believe that when Medea says “good [is] anything that promote[s] the development of all living things” (p. 91), she (or more properly perhaps, Wolf) is saying something we need to remember in this era when we too are succumbing to nameless, baseless fears cultivated by our rulers and endured because we’re too much like Glauce or Jason or Leukon to imagine that things can be any different. (In the same vein, I would have to recommend A.S. Byatt’s Ragnarok, which touches on the same theme of our incapacity to thinks things can be any different than our “betters” tell us, and on the theme that society stifles the individual – especially the woman. Or V for Vendetta, which I reread over the weekend.)I would also recommend John Gardner’s Jason and Medeia, a poetic retelling of the myth, which ranks up there with this version as one of my favorites.

  • Sakura87
    2019-04-25 00:08

    Avevo scritto, tempo fa (http://www.lastambergadeilettori.com/...), del fenomeno della riscrittura, una forma di manipolazione testuale che può assumere molti aspetti e che gli studi femministi - tra gli altri - hanno utilizzato sovversivamente per sfidare il canone occidentale che a lungo ha trascurato o inibito la letteratura femminile.Uno dei tipici modus operandi della riscrittura femminista è il recupero di personaggi femminili storici, mitologici o letterari per dar loro nuova voce e nuova autonomia. Christa Wolf ne sceglie due emblematici: Cassandra, la veggente che preconizzò la rovina di Troia ma non fu creduta, e Medea, che uccise i figli per vendicarsi dell'uomo traditore per cui aveva abbandonato la casa paterna.Medea. Voci si basa sulla reale (o presunta tale) scoperta che Euripide avrebbe percepito quindici talenti d'argento per riscattare la memoria di Corinto, attribuendo a Medea il brutale omicidio dei suoi bambini. Secondo tale versione ripresa da Christa Wolf, e attestata - sembra - in Apollonio Rodio, Medea sarebbe stata piuttosto il capro espiatorio di una città abbarbicata ai suoi segreti e ai suoi usi reazionari e maschilisti.Giunta dalla lontana Colchide al fianco di Giasone, che aiutò - tradendo il padre - nel recupero del famigerato Vello d'oro, Medea rappresenta per Corinto una pericolosa alterità culturale, per di più di stampo matriarcale, che si oppone alla medicina ciarlatana dei greci, alla loro oppressione femminile, ai loro riti sanguinari, semplicemente con la sua presenza sovversiva. Ammirata e temuta, Medea si aggira tra i corinzi divisa tra l'amore persistente verso un uomo - il padre dei suoi figli - che, tornato in patria, si è allontanato da lei cui pure deve tutto, e il disgusto verso un popolo barbaro che a sua volta la disprezza. La sua figura è restituita da un fuoco incrociato di voci a lei vicine e lontane: Giasone, ancora affascinato dal suo corpo e dal suo spirito, ma allontanato da lei dal ritorno alla sua patria e ai suoi pari; Agameda, giovane donna rosa dall'invidia venuta via con lei dalla Colchide e desiderosa di distruggerla; Acamante, primo astronomo e consigliere del re Creonte, come molti soggiogato dalla sua forza e dal suo sapere ma conscio di quale pericolo rappresenti per Corinto; Glauce, figlia di Creonte e promessa sposa di Giasone, traumatizzata da un evento della sua infanzia il cui segreto Corinto custodisce gelosamente nei suoi sepolcri; Leuco, secondo astronomo, simpatizzante dei colchici; e naturalmente la voce di Medea stessa - che interviene ben quattro volte ad aprire e chiudere la narrazione -, come tutti consapevole della propria inevitabile rovina che lentamente si approssima a lei e ai suoi profughi.«Ho cominciato a interessarmi a Medea nel 1990. Lo stesso anno in cui la DDR stava sparendo dalla storia. Ho cominciato a domandarmi perché nella nostra società tutto viene consumato e nello stesso tempo si va sempre alla ricerca di un capro espiatorio.»Medea è il tentativo di riscatto di un personaggio femminile cui è stata negata una versione dei fatti, ma rappresenta anche il grido di protesta di una scrittrice che a sua volta fu diffamata dalla stampa tedesca per la sua vicinanza al regime di Honecker. Opera sentitissima, dunque, pienamente riuscita per la forza con cui i suoi personaggi s'imprimono nel lettore e per lo stile prezioso che rende la lettura memorabile.Recensione pubblicata anche sulla Stamberga dei Lettori:http://www.lastambergadeilettori.com/...

  • Dajana
    2019-04-15 02:05

    Zanimljiva i neobična zamisao da se romaneskna građa pretvori u niz monologa različitih likova iz Euripidove "Medeje" i da se drugačije interpretira njena sudbina.Nije pet zvezdica zato što je kraj bio očigledan sve vreme, i previše su crno-beli likovi - Medeja i krug oko nje su dobri, ostali su zli. Preporučujem svima koji vole priču o Medeji i koje zanimaju romani koji se bave položajem žena u dominantno muškom društvu. :)

  • Casey
    2019-04-15 06:02

    I always kind of felt for Medea. Yes, I know, she killed her kids and all that, but damn it, she gave up everything for that cheating bastard, Jason. This is great--it's more politics than passion, and Medea is not just an independent woman, she's an independent woman who knows more than Creon wants her to know. The resulting story is very compelling.

  • Eℓℓis ♥
    2019-04-23 01:49

    Christa Wolf ritorna a parlarci di mitologia greca. Dopo il lavoro magistrale della Cassandra è il turno di un altro personaggio femminile: Medea.In questo romanzo corale la scrittrice ci dà l'opportunità di rivalutare la figura di questa donna, la cui fama è stata infangata dai vari e crudeli racconti che ci sono stati tramandati; in particolare la tragedia di Euripide nella quale viene dipinta come un'assassina senza scrupoli, che senza alcuna remora prima uccide il fratello e poi i suoi stessi figli. Una donna assetata di vendetta, pronta a qualsiasi cosa pur di proteggere il suo orgoglio ferito dal volubile Giasone, ma non è assolutamente così. La Wolf ha scavato tra i vari miti greci precedenti alla versione euripidea e ha trovato conferma che Medea non è la donna che spietata, fredda sacerdotessa dell'occulto che abbiamo imparato a conoscere. Attraverso la rielaborazione di alcuni frammenti del mito provenienti da fonti diverse e attestate soprattutto ad Apollonio Rodio, è giunta alla conclusione che Medea non è un'assassina e meno che mai un'infanticida. Non voglio svelarvi altro, vi dico soltanto di concedere un'opportunità a questa nuova trasposizione e a stimare in maniera positiva un personaggio che è stato denigrato e sminuito da sempre.Dal libro: Sai che cosa cercano, Medea? mi chiese.Cercano una donna che dica loro che non hanno colpe; che sono gli dei, oggetto casuale di adorazione, a trascinarli nelle loro imprese. Che la scia di sangue che si lasciano dietro fa parte della mascolinità così come gli dei l’hanno determinata.

  • Lily
    2019-04-24 02:07

    Whoever uses his hands dips them in blood, whether he wants to or not. I do not want to have blood on my hands. How many bloody, peaceless bones are propping up the tidy walls of civilization?It's a question that many of us would rather not think about, but for some people - some brave, dangerous, unlucky people - it's the only thing they can think about. Christa Wolf's Medea is one such person. Wolf reimagines one of literature's most sinister women in a way that leads to a familiar destination, but follows an unexpected path. Medea is a lonely outsider seeking to understand the machinations of Corinth - a place where a superficial love of country crushes any unflattering truth and nurtures every self-aggrandizing lie. When she discovers a secret and refuses to forget what she's learned, she becomes a target. The ensuing story is narrated by a tapestry of voices: Medea herself, manipulative Akamas, curmudgeonly Jason, frantic Glauce, and - the one that surprisingly became my favorite - Leukon, who despite his great intellect is so often at a loss. Medea - as a book and as a character - begs us to consider what is an acceptable price to pay in exchange for a "good" life, especially when that price is paid by someone else.Now I'm seized by a longing for all the days they'll rob me of... For all the simple joys, which are the only ones that last. Now I've left them all behind me. The messenger is here.

  • La Stamberga dei Lettori
    2019-04-25 05:09

    Medea. Voci si basa sulla reale (o presunta tale) scoperta che Euripide avrebbe percepito quindici talenti d'argento per riscattare la memoria di Corinto, attribuendo a Medea il brutale omicidio dei suoi bambini. Secondo tale versione ripresa da Christa Wolf, e attestata - sembra - in Apollonio Rodio, Medea sarebbe stata piuttosto il capro espiatorio di una città abbarbicata ai suoi segreti e ai suoi usi reazionari e maschilisti.Continua su:http://www.lastambergadeilettori.com/...

  • Steffi
    2019-04-22 23:43

    Weder Wolfs Erzählton, der mich in der Vergangenheit oft störte, noch der antike Stoff, haben sich beim Lesen als störend oder schwierig erwiesen. Gut und flüssig erzählte Geschichte über Machtverhältnisse, das Verhältnis von Männern und Frauen, den Umgang mit Fremden und abweichenden Positionen und damit sehr aktuell. Aber auch einige Sätze, bei denen zu vermuten ist, dass Christa Wolf, das Verhältnis von ehemaliger DDR und BRD kommentierte. Lesenswert!

  • Kara Kilgore
    2019-04-20 00:59

    This is one of the most beautifully written books that I've read in the last four years. I'm high-lighting like crazy because there are so many great quotes, and I don't want to miss a thing.

  • Sara Mazzoni
    2019-04-07 01:10

    Christa Wolf riscrive il mito di Medea in opposizione alla tragedia di Euripide, che sembra aver modificato il mito originale per glorificare l’immagine della Grecia civile e razionale a discapito dell’antico mondo di Colchide, e della figura femminile di Medea (la questione è approfondita nella raccolta di saggi L’altra Medea, sempre firmata da Christa Wolf per e/o). La Medea di Wolf non è un’infanticida, e ha accettato l’abbandono di Giasone. Medea è semmai quello che si dice un personaggio scomodo: incapace di ipocrisia, è estranea ai giochi di potere del palazzo reale, creandosi così numerosi nemici; non è una maga, bensì una guaritrice, depositaria di un sapere medico estraneo a una cultura corinzia carica di vacue superstizioni. A condannarla sarà la scoperta di un terribile segreto del re Creonte. Verrà cacciata, e i suoi figli saranno lapidati dagli abitanti della città. Wolf, intellettuale della DDR presa di mira dalla stampa occidentale, s’identifica in Medea, capro espiatorio a cui viene imputata la responsabilità della pestilenza. Il libro è un racconto a più voci, dove sei personaggi narrano per monologhi la vicenda di Medea in una Corinto molto meno raziocinante di quella dipinta da Euripide.

  • Andrew
    2019-04-09 03:47

    The story of Medea was one of those old legends, something that has infiltrated every context of our culture. Modern America might only know the name from the Tyler Perry character, but the notion of the dark, chthonic female, the mother rabbit who devours her litter in a pique, is so sublimated that, once you become aware of it, you begin to see it everywhere.Christa Wolf takes the legend, and turns it on its head. And no, not in some godawful "Wicked" type way, but in this totally weird, postcolonial way, in which a largely egalitarian, vaguely "Oriental" society gets savaged by resource-hungry imperialists. Ignore the classical setting and this is such a perfect, anguished end-of-the-Cold War novel, a la Coetzee's "Waiting for the Barbarians."

  • Hesper
    2019-04-26 23:05

    Edgelord Christa Wolf turns Medea into Hecuba for the sake of Message.

  • Yağmur
    2019-04-25 22:43

    What do they say? That I, Medea, murdered my children. I, Medea, wanted to revenge myself on Jason.Who's going to believe that, I ask.Everybody, she says.

  • Holly78
    2019-04-10 03:54

    Un capolavoro.

  • Mia Dall
    2019-04-18 01:00

    Alle vores myter skulle genfortælles på så kompliceret, intelligent og respektfuld vis. Så kunne det være kvinden fik et bedre ry. Adam & Eva, anyone?

  • Tina Ghviniashvili
    2019-04-10 03:42

    კრისტა ვოლფის "მედეა" არის სულისშემძვრელად კარგი ნაწარმოები. აბსოლუტურად განსხვავებული ევრიპიდეს, სენეკას თუ პაზოლინის მედეასგან. ვოლფის რომანში სრულიად სხვაგვარად არის აგებული მედეასა და იასონის სახეები. სიუჟეტიც განსხვავებულია. ისეთი საინტერესო ხასიათითაა მედეა ამ რომანში და ისეთი მძაფრია მისი მონოლოგები, სული გეხუთება კითხვისას. ცალკე ამბავია, თითოეული თავის წინ წამძღვარებული ეპიგრაფები. ისეთი ბასრია და მკვლელი, გაგიჟება შეიძლება. მიუხედავად იმისა, რომ ათასგვარი ვერსია თუ ლიტერატურული ტექსტი მაქვს წაკითხული ამ თემაზე, ძალიან ამაღელვებელი იყო თავიდან ამის წაკითხვა და მზად ვარ, ახლა დავჯდე და დიდხანს ვიქვითინო :D

  • Vanessa
    2019-04-06 22:50

    I really don't feel like I have the words to do this justice, but it's undoubtedly one of the best books I ever read. It's like a huge portrayal of the dynamics of human nature and society, the clash of different cultures, intrigues, oppression and power, and in the middle of it this headstrong, independent woman with her modern views and the way she questions everything - and by that, threatens to bring the entire corrupt system down, which is the cause of her downfall in the end. She's the stranger, the one who doesn't fit in, the one who doesn't bow, the ideal scapegoat for people to blame for problems actually caused by the higher authorities. It goes without saying that all of this is especially fascinating contrasted with the original myth of Medea, and how it's completely turned on its head here.I can't get more into detail because I would have to write an entire book myself. The story is told through multiple perspectives, and every character (even the ones with no POVs, hell if you think about it, even the anonymous masses) is so intricate and psychologically complex that I feel I could read this book 10 more times and still discover new thoughts, new implications, new perspectives. I definitely want to read more of Christa Wolf's books now.

  • Lotti
    2019-03-28 05:56

    In 2009 heb ik de voortreffelijke ensceneringen van Medea van zowel het Nationaal Toneel als ook van het NNT in het theater gezien. Daarna - in het kader van het Holland Festival - de choreografische bewerking van de opera Medea van Dusapin. Die laatste voorstelling kon me minder bekoren.Het integreert me hoe het verhaal van Medea steeds op een andere manier vorm gegeven wordt. Christa Wolf bekijkt het verhaal weer van een heel andere kant. Ze laat het verhaal door verschillende mensen vertellen waarbij Medea niet langer schuldig aan de moord aan haar kinderen is. Ze benadrukt de moeilijkheden van Medea om in een vreemde omgeving geaccepteerd te worden en laat daardoor zien dat vreemdelingenhaat helaas een item van alle tijden is. Interessant boek dat nog meer impact had doordat ik het geluisterd heb. De verschillende stemmen komen tot leven komen en worden door geluidseffecten ondersteund.

  • Guenda Ferri
    2019-04-16 05:11

    “Medea: voci” va oltre il libro, va oltre le parole, si amplifica in suoni. È come se le voci fossero reali, come se leggendole si concretizzassero. Leggendo, non mi sono solo immaginata le immagini di ciò che accadeva, come faccio di solito, perché ben presto ho capito che non era sulle immagini che questo libro si basava. Come dice il titolo, si basa sulle voci. Immaginiamoci perciò una stanza buia. Completamente buia. Solo nero a riempire le pupille. E, a una a una, emergono le voci. Bassa e matura quella di Medea, carismatica e al contempo titubante quella di Giasone, profonda quella di Creonte, stridula quella di Agameda, ironica quella di Acamante, tremula quella di Leuco, stralunata ma sofferente quella di Glauce. Ci raccontano una storia famosissima in modo diverso dal solito, stravolgendo tutto ciò che credevamo di sapere. Un concerto umano perfettamente orchestrato perché le voci si sovrappongano con un’armonia brusca e triste: un capolavoro.

  • Jordan
    2019-04-26 02:58

    Near the end, a bunch of women chop of a man's cock and parade around with it on a stick, which conveniently sums up a lot of my feelings towards this book.

  • Exlibris_readmorebooks
    2019-04-07 02:57

    von Christa WolfBewertung insgesamt: ***Genre: RomanErschienen am: Januar 1998Verlag: dtvSeiten: 217 SeitenFormat: Taschenbuch/SoftcoverPreis: 9,99€Kaufen? Hier!_______________________________________________Klappentext Als Frau des Argonauten Jason lebt Medea in Korinth, wohin sie ihm aus ihrer Heimat Kolchis gefolgt ist. Im königlichen Palast Korinths gerät sie in ein Spiel aus Verleumdungen, Intrigen und Lügen. Der Kampf um die Macht steht im Mittelpunkt, und Medea soll als Sündenbock geopfert werden. Die Medea der griechischen Tragödie, die Barbarin, Giftmischerin, die rachsüchtige Mörderin – hier wird diese Frauenfigur aus dem jahrtausendealten Mythos gelöst, das überkommene Bild revidiert. In ihrem Erfolgsroman erzählt Christa Wolf die Geschichte der Medea neu und entwirft das Porträt einer eigenwilligen, ungewöhnlichen Frau. Über den AutorChrista Wolf wurde am 18.März 1929 als Tochter eines Kaufmannes in Landsberg/ Wartha geboren. Sie studierte in Jena und Leipzig Germanistik, arbeitete als Verlagslektorin und lebte dann als freie Schriftstellerin in Berlin. Ihr umfangreiches erzählerisches und essarisches Werk ist mit zahlreichen nationalen und internationalen Preisen ausgezeichnet worden.Erster Satz"Auch tote Götter regieren."Meine Meinung Das Cover stellt alte Figuren dar und passt sehr gut zu der zeitlichen Geschichte von Ovid Metamorphosen, auf die dieser Roman beruht.Der Roman ist vom Sprachstil in der Alltagssprache geschrieben und die 11 Monologe werden von 6 Personen gesprochen, weshalb keine kontinuierlich voranschreitende Handlung vorhanden ist. Es werden die verschiedenen Sichtweisen auf Medea abgebildet.Der Inhalt ist gut verpackt und nicht langwierig. Ich würde es nicht als spannend bezeichnen, doch als Lektüre für die Uni oder Schule ist es definitiv wunderbar geeignet. Medea, die Tochter des Königs von Kolchis, ist die Protagonistin über die die anderen Monologe meistens handeln. Sie hat Jason in ihrer Stadt dazu verholfen in Besitz des goldenen Vlieses zu gelangen. Dann flieht sie mit ihm und den Argonauten.Daraufhin gelangen sie nach Korinth. Nach außen hin regiert dort der König Kreon, wohingegen jedoch der erste Astronom Akamas im Hintergrund der Leitende ist.Gefährlich wird es für Medea, nachdem sie der Königin eines Tages folgt und das Staatsgeheimnis herausfindet. Dabei handelt es sich um eine unmoralische Tat des Königs, bei der er seine Tochter töten ließ, damit sein Sturz verhindert wurde.Akamas erfährt darüber, dass Medea über die Tat Bescheid weiß und setzt alles darauf Gerüchte zu verbreiten, damit sie in der Gesellschaft schlecht angesehen ist. Dies führt endgültig dazu, dass sie aus der Stadt verbannt wird. Ihre Kinder werden gesteinigt und der Mythos verbreitet, dass sie selbst sie ermordet hätte.FazitDie Geschichte ist auf der textuellen Grundlage von Ovid Metamorphosen geschrieben, da bei beiden der Medea Mythos vorhanden ist. Christa Wolf ergänzte ihre Roman noch um das derzeit aktuelle Thema der emanzipierten Frau und stellte dies mit Hilfe der Medea als eigenständige Frau und der Korinther als unterwürfige Frauen dar. Außerdem kann man gut verfolgen, dass sie im Gegensatz zum Ovid Mythos nicht als böse sondern durchgehend moralisch handelnde Person dargestellt wird. Alles in allem merkt man schnell, dass dies ein Roman ist, welchen man gut analysieren kann und sich somit perfekt als Grundlage für die Schule oder das Studium eignet. Der Inhalt ist ebenfalls interessant und weiterzuempfehlen. Eure Celina

  • Daisy
    2019-04-24 04:49

    Quality Rating: Three StarsEnjoyment Rating: Three StarsI've wanted to read Medea ever since I discovered Cassandra - another ancient Greek myth retelling by Christa Wolf. I can't tell you how much I fell in love with that book and so, to be fair, Medea was always going to have a hard time competing. In the end, it didn't even touch Cassandra in terms of excellence, but I think there were several circumstantial things that contributed to that aside from the story.The first of which is that I'm pretty sure Medea must have had a different translator to Cassandra. Christa Wolf was a German writer and scholar, and so her works are translated into English. Medea felt so much harder to read for me; it was dense, its word choice wasn't as vivid and succinct, and just generally hard to read. The book is less than 200 pages and it took me the better part of a month to get through. It might be that I'm wrong and it's just an example of Wolf's earlier work or something like that, but considering it is a translated work I'd imagine that's what I struggled with.Aside from that, Wolf's style did still shine through at times. I love how she tells stories; her books are less of a narrative story and more fictionalised studies. The non-linear structure focuses on a human flaw in each character and slowly reveals how it combines with the other flaws of the characters into a spiral of tragedy. Her novels very much follow the style of the ancient stage tragedies, even though they aren't direct retellings of any plays from antiquity. It's not for everyone, but if you're fascinated by people like me it's some of the best stuff out there.I'm a self-proclaimed classics nerd, but I'm not as familiar with the tale of Jason and Medea as I am with a lot of Greek myths. And even though retellings shouldn't use the original versions as a crutch, not knowing the story well to start with did take away from my experience reading this novel. I felt like a lot of the politics and cultural and personal relationships were revealed once they became apparent to the story, but actually being aware of them to start with might have helped in understanding what was actually happening. I only say this because I know in Cassandra there were a lot of critiques and comments made in the subtext that I only noticed because I knew a lot about the Trojan War to begin with. Perhaps it's something to look at if I ever reread this book, but it didn't strike me as the most accessible instance of a myth retelling.Medea definitely wasn't as vivid as Cassandra but was still visually alluring and provocative at times. It has a lot to say about the ancient world and woman's place in it, as expected. I feel like Christa Wolf should be more recognised for her work as it really is an interesting look at the classical world and its stories. Maybe go for Cassandra over this one, though.

  • Wendy
    2019-04-24 03:44

    Now, this is an amazing retelling of the ancient Medea myth, eschewing the "betrayed, vengeful" Medea with a Medea who is a healer, an independent and strong woman who walks with her head held high, making her the target of jealousy and power plays. In this retelling, she is not the murderess of her brother, rival, and children but the object of malicious lies and "fake news" by those who wish to remain in power and close to power.It is a tale for our times, played out daily in the modern world. Christa Wolf brilliantly shows how powerful women and women who know too much will be "brought down to size", run out of town, made to lose all that they hold close. But somehow, they remain whole and powerful, undiminished.I loved this Medea.

  • Dennis
    2019-04-26 05:41

    I love Greek mythology. In this novel, Christa Wolf retells the story of Medea, the wife Jason, leader of the Argonauts. Medea is known for murdering her children and her brother, thus being one of the most sinister mythological characters. However, Wolf gives her - for the first time - a voice, reimagining the murders and intrigues Medea is involved with.