Acceso usuarios
Cristina Coriasso Martín-Posadillo
El presente artículo se adentra en dos representaciones de Medea: la de la homónima película de Pier Paolo Pasolini (1968) y la de la obra poética de Chantal Maillard (2020), hallándose algunas congenialidades entre los dos autores. Una contraposición de las dos representaciones de Medea –con el paso intermedio de la de Lars Von Trier en su mediometraje para la televisión danesa (1988), sobre guion de Carl Theodor Dreyer–, nos permite ver, además de similitudes y diferencias, una evolución del modo de concebir el mito femenino de Medea y su significado, aplicable a la cuestión de género y a la crítica de la deriva etnocéntrica y antropocéntrica de la modernidad.
This article delves into two representations of Medea: that of the homonymous film by Pier Paolo Pasolini This article delves into two representations of Medea: that of the homonymous film by Pier Paolo Pasolini (1968) and that of the poetic work by Chantal Maillard (2020), finding some similarities between the two authors. A comparison of the two representations of Medea -with the intermediate step of that of Lars Von Trier in his medium-length film for Danish television (1988), on script by Carl Theodor Dreyer- allows us to see, in addition to similarities and differences, an evolution in the way of conceiving the female myth of Medea and its meaning, no longer only applicable to the gender issue, but also to its undoubted ecofeminist valences, which concern criticism of the ethnocentric and anthropocentric drift of modernity.
