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Psychological tragedy

Ino/Procne - Demon-mistress myth

Double revenge plot

Medea's use of monologues

Themes and motifs from traditional myths

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https://www.jstor.org/stable/284024?seq=1

discusses medeas heroric charachter

Medea masculine nature

path to vengence

gender roles- medea compared to other male greek heros

Mentions other texts- Alcestis

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Heroic Elements in the Medea of Euripides on JSTOR

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Elizabeth Bryson Bongie, Heroic Elements in the Medea of Euripides, Transactions of the American Philological Association (1974-2014), Vol. 107 (1977), pp. 27-56

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Extent to which Medea is a heroine where she retains feminine qualities versus whether her heroic attributes are masculinised

Explores similarities and how the play was dramatised in three different interpretations

Medea embodies and symbolises the destruction of private, domestic and traditional family: both from actions she ordered and committed herself.

Initial portrayal of Medea as a perfect woman under the male power structure universe, indirectly reveals the societal norms present.

Medea llustrates the primary values of Corneille's heroic universe: unity of word and action; creation and cult of the self; surhumanity, defined against the nature

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Carolyn A. Durham, Medea: Hero or Heroine?, Frontiers: A Journal of Women Studies, Vol. 8, No. 1 (1984), pp. 54-59

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Women's place in Victorian socioeconomic structure

Fantasy/Fairy tales

Victorian configuration causing 'fallen women'

Marx perspectives

"Men's time" as linear, "women's time" as cyclical

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Of Mothers and Merchants: Female Economics in Christina Rossetti's "Goblin Market" on JSTOR

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Elizabeth Campbell, Of Mothers and Merchants: Female Economics in Christina Rossetti's "Goblin Market", Victorian Studies, Vol. 33, No. 3 (Spring, 1990), pp. 393-410

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Outlines and explains the portrayal of 'revenge' of Medea.

Explains how this impact is shown to audiences.

How this is represented by aspects of being a play (eg: stage directions from script, character background, and historical features).

Alludes to meanings of techniques and literary choices intended by the author Euripides.

Explores Scenic and Metaphorical Spaces.

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Revenge and Mythopoiesis in Euripides' "Medea" on JSTOR

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Marianne Hopman, Revenge and Mythopoiesis in Euripides' "Medea", Transactions of the American Philological Association (1974-2014), Vol. 138, No. 1 (Spring, 2008), pp. 155-183

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An attempt to argue that Rossetti has created a world which deliberately excludes men

The term 'sisterhood' marks a reaffirmation of the potentialities of women for independence and productivity

Argument of female's moral power was used by some women to oppose the suffrage movement --> asserted that women had supreme sway over male children

Rossetti's writings demonstrate her accordance with such views --> sees a connection between 'male' and 'female' roles that are traditionally mutually exclusive --> her term of 'sisterhood' states male and female roles are available to everyone

Heavily influenced by Florence Nightingale --> adopts a nurturing tone towards sisterhood, which embodies a heroism of its own --> has clear affinities with Goblin Market

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The Potential of Sisterhood: Christina Rossetti’s “Goblin Market” on JSTOR

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Janet Galligani Casey, The Potential of Sisterhood: Christina Rossetti’s “Goblin Market”, Victorian Poetry, Vol. 29, No. 1 (Spring, 1991), pp. 63-78

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https://www.jstor.org/stable/2873286

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JSTOR is a digital library of academic journals, books, and primary sources.

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Lizzie attempts to gain 'consumer agency' by using her silver penny

Repetition of 'Come buy, come buy' allude to consumer enjoyment and is poetically seductive

Oral recitals of certain lines such as 'Plump unpecked cherries' invite the reader to mimic the movement of biting into fruit

Silver penny could symbolise the found/redeemed sinner (Parable of the lost coin)

Lizzie never has to look for a silver coin in the first place - could delineate her innate purity/Christlike qualities

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"Come Buy": The Crossing of Sexual and Consumer Desire in Christina Rossetti's "Goblin Market" on JSTOR

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Victor Roman Mendoza, "Come Buy": The Crossing of Sexual and Consumer Desire in Christina Rossetti's "Goblin Market", ELH, Vol. 73, No. 4 (Winter, 2006), pp. 913-947

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The consequences of Jason's betrayal are more severe for Medea than for other wives, because she cannot return to her father

Methods of vengeance are focused on marriage

Refers to other texts (Agememnon by Aeschylus)

References actual words from the original play & not the translation. Discusses connotations and deeper meanings are not obvious through the English translation

Creon and his daughter die together – the marriage is concluded not with Jason but her father, so the rite of passage from father to husband is incomplete

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Fallen women connotation

Relates to the context of Rossetti's experiences

Relates goblin fruits to prostitution

Consumerist society

Goblin are bourgeoise (classist)

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"Come Buy": The Crossing of Sexual and Consumer Desire in Christina Rossetti's "Goblin Market" on JSTOR

# data[].attributes.attachment_link.description
Victor Roman Mendoza, "Come Buy": The Crossing of Sexual and Consumer Desire in Christina Rossetti's "Goblin Market", ELH, Vol. 73, No. 4 (Winter, 2006), pp. 913-947

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Allegory of Eve's temptation in the Garden of Eden

Rossetti: material world is capable of leading one away from God, things that are appealing to the senses are dangerous (Goblin's fruits)

Listing of varieties of fruit: makes fruit seem more luscious, the goblins more grotesque --> sensory overload: suggest excess and greed

Laura: blinded by sensory temptations of the material world, impairs her moral sense ("a voice like voice of doves --> religious symbol of peace + Holy Spirt --> attributed unwarranted spiritual significance to the goblins)

Goblins + fruits: x governed by natural laws ("all ripe together/ in summer weather": naturally x harvested in the same seasons)

Fruit: selfish abandonment of disobedience and gluttony