The area of ASEAN countries and the subsequent role of regionalisation were being analysed in this thesis whilst employing the HDI, mortality rate up to 5 years, life expectancy at birth, GDP per capita, unemployment rate, and FDI as the crucial indicators. The study aims to examine the ASEAN countries and its aggregation within both the economic and social spheres. A 10-year period (2006-2016) had been inquired so that the development of each indicator may be examined. And therefore, results of beta convergence could be displayed in a correlation diagrams. The convergence trend has mirrored in five indicators. The only indicator, however, to be diverging has been represented by the unemployment rate. The findings of beta convergence suggest that, in comparison with economic indicators, social indicators tend to converge in a more significant manner in the ASEAN countries.

Title: Fundamental Painting Author: Claudia Rajlich Department: Institute of Art History Supervisor: Prof. PhDr. Vojtěch Lahoda, CSc. Abstract: This dissertation wishes to define fundamental painting - a term which was coined and a current which was defined by the Stedelijk Museum in Amsterdam in the form of a show of 18 artists of different nationalities in 1975. Like the show, it wishes to give a clear view of a specific new kind of painting of the 1970s, which is "a reflection on the foundations of painting."1 The core of Fundamental Painting is formed by the four painters of American Minimal Art and the show based on a text concerning their work (upon which innumerable texts have been written since). This dissertation focuses on the European part of this "common mentality" as the curators call it, which remains unresearched until today. Its scope is to define: What was it, where did it come from and was it at all? The research is limited to artists in the show (although we conclude that a few should be replaced by others), historical evidence concerning new painting in the 1970s, the critical analysis of texts, artists statements and, above all, the undeniable documentation in the form of the body of works themselves. The existence of Fundamental Painting is proven, its characteristics determined in...

97 procent av alla misstänkta sexualbrottsförövare är män. Trots detta misslyckas många samtyckeskampanjer med att skapa design som tilltalar män. Denna uppsats syftar till att undersöka hur visuell retorik och specifikt normkritisk design kan tilltala män och därmed främja sexuellt samtycke i praktiken. Uppsatsens frågeställning är: Hur används visuell retorik och speciellt normkritiska designlösningar i kampanjfilmen Let's talk about consent baby för att nå män? Genom en visuell analys med stöd från teori om visuell retorik, genusvetenskap och marknadsföringsteori kommer uppsatsen fram till att kampanjfilmen har vissa bra normkritiska designlösningar. Stundtals är dessa aningen utmanande för att fungera som visuell retorik för att nå normativa män. Rosa används för att symbolisera normkritik men fungerar retoriskt snarare för att stärka kvinnor och icke-binära än att tilltala män. Filmen visualiserar en maskulinitet som utmanar dagens maskulinitetsnorm och stärker individer som faller utanför den. Retoriskt behöver Fatta! stärka sitt etos hos män för att deras andra retoriska verktyg ska fungera. Slutligen använder filmen linjeillustrationer som å ena sidan kan tolkas som inkluderande och normkritiskt, å andra sidan som en reproduktion av vithetsnormen.Languageswe (iso)Subjectgenusgrafisk design​ / 97 percent of all suspected sexual offenders are men. However, many campaigns regarding sexual consent fail to create design that appeal to men. This thesis aims to study how visual rhetoric and especially norm critical design will reach men and therefore promote sexual consent in practice. The thesis studies the question: How is visual rhetoric used and specifically norm critical design solutions in the campaign film Let´s talk about consent baby to appeal men? This is concluded through a visual analysis with support from theory. The thesis concludes that the campaign has some great norm critical design solutions. The solutions are sometimes a little bit too challenging to work as visual rhetoric to reach normative men. Pink is used to symbolize norm criticism but works more as empowering for women and non-binary than to appeal to men. The film visualizes a masculinity that challenges the masculinity norm and empowers individuals that are not part of it. Rhetorically, the ethos needs to be strengthened for the other rhetorical tools to work. Finally, the film uses line illustrations that on one hand can be interpreted as inclusive but on the other hand can be seen as a reproduction of the white norm.​

This thesis introduces lamina emergent mechanisms (LEMs) and presents components that can be used as building blocks to create LEMs capable of more complex motion. As the name suggests, lamina emergent mechanisms are fabricated out of planar materials (the lamina) but their motion is out of that plane (emergent). Lamina emergent mechanisms can provide benefits that include reduced manufacturing costs and minimal volume when in the planar state. The compact initial state of LEMs is beneficial in reducing shipping costs, especially in volume critical applications. LEMs also exhibit the potential benefits of compliant mechanisms, namely increased precision, reduced weight, reduced wear, and part count reduction. The LEM components presented in this thesis include flexible segments, fundamental mechanisms, and a new complaint joint, the lamina emergent torsional (LET) Joint. The flexible segments are developed through changes in geometry, boundary/loading conditions, and material. The fundamental mechanisms presented have motion similar to planar change-point four-bar and six-bar mechanisms, and spherical change-point mechanisms. The LET Joint is presented as a compliant joint suited for applications where large angular rotation is desired, but high off-axis stiffness is not as critical. The joint is introduced and the equations necessary for determining the force-deflection characteristics and stress are presented. Since the LET Joint can be fabricated from a single planar layer, it is well suited for macro and micro applications. Illustrative examples of the LET Joint are provided with devices fabricated from materials as diverse as steel, polypropylene, and polycrystalline silicon.

La Costituzione degli Ateniesi, tramandataci dalla tradizione tra le opere di Senofonte, ha suscitato nel corso del tempo un considerevole interesse tra gli studiosi del mondo greco. All’opera, a partire dal XIX secolo, sono state dedicate analisi di natura filologica, linguistica e storica, e, in tempi più recenti, un elevato numero di commenti. Oggetto della riflessione dell’Autore – dichiaratamente ostile al regime politico in vigore ad Atene – sono i meccanismi costitutivi e funzionali della democrazia. L’opera propone una riflessione economico-politica di notevole rilievo teorico il cui intento, esplicitato fin dall’incipit, è di mostrare come il tipo di politeia scelto ad Atene – in cui è il demos a detenere il κράτος e, per questo, ad ἄμεινον πράττειν –, per quanto disprezzabile, funziona con successo. Il breve pamphlet costituisce per noi, dunque, una testimonianza fondamentale sul concreto funzionamento del sistema politico ateniese, sull’intelaiatura ideologica che lo sosteneva, nonché sulla resistenza teorica elaborata e propugnata dai sostenitori del pensiero antidemocratico. Tuttavia, la piena comprensione di tale fondamentale testimonianza risulta subordinata alla risoluzione delle questioni nodali dell’opera - quali cronologia, paternità, natura, destinazione, e finalità dello scritto – che, lungi dall’aver raggiunto un chiarimento definitivo, sono ancora oggi ampiamente dibattute. Il presente studio, pertanto, si è proposto di indagare, nella produzione letteraria superstite, quelle opere strettamente connesse alla sfera politica che, per pertinenza e rilevanza, mostrassero una certa affinità tematica con il pamphlet, rimandando verisimilmente a soggetti e motivi di riflessione comuni. Tra la vasta produzione letteraria politica del V secolo la presente ricerca si è incentrata in particolare sulla storiografia tucididea, quale testimone imprescindibile della situazione poleica della seconda metà del secolo, e la produzione teatrale, comica e tragica, che, riproducendo dibattiti culturali, attriti sociali e civili contemporanei, traduce in scena il linguaggio della polis. Il metodo analitico impiegato ha tentato di coniugare la ricerca tematica e l’indagine linguistica: la ricognizione di tipo contenutistico è stata affiancata da un’analisi del materiale linguistico, con l’intento di valutare la pregnanza di elementi tematici o tratti linguistici comuni nella loro dimensione comunicativa e sociale. Se, infatti, l’accostamento analogico sulla base della comunanza dei motivi proposti dai diversi testi permette di ricomporre il complesso di circostanze e avvenimenti in cui l’interesse per un dato tema si è sviluppato, le osservazioni linguistiche (e semantiche più in particolare) forniscono informazioni importanti circa il sistema culturale e ideologico delle nostre fonti. Dopo una prima definizione della problematica cronologica e d’attribuzione dell’opera, il presente lavoro, dunque, esamina il linguaggio politico impiegato nell’Athenaion Politeia, tramite un confronto, anche lessicale, con le opere che riflettono maggiormente l’opposta ideologia democratico-periclea, tra cui l’epitafio pericleo riportato da Thuc. II 35-46 e la prima produzione euripidea. Segue un raffronto puntuale tra il testo del pamphlet e i discorsi periclei riportati nei primi due libri dell’opera tucididea. L’indagine su uno dei temi portanti del libello, ovvero la politica imperiale esercitata dal regime democratico e le relazioni con gli alleati è stata effettuata tramite il confronto con le commedie aristofanee degli anni Venti del V secolo, in particolare Cavalieri e Vespe. Puntuali consonanze tematiche sono state riscontrate, inoltre, nella produzione comica frammentaria (di Aristofane, Teleclide, Ermippo, Eupoli), cui è dedicata una specifica sezione del lavoro. Lo studio di contestualizzazione ha dunque permesso di fissare le differenti opere prese in esame, e l’Athenaion Politeia in primis, in una rete di rapporti e condizionamenti, la cui valutazione risulta imprescindibile per una lettura circostanziata della letteratura politica ateniese.

Multi-ion radiotherapy has been suggested as a new way to treat cancer, combining the radiological advantages of lighter and heavier ions in a single treatment to improve plan robustness and increase LETd in the target. To succeed, multi-ion radiotherapy requires a treatment planning system capable of computing dose for and optimising multi-ion treatment plans. In this project, prototypical multi-ion radiotherapy treatment planning support has been implemented in the RayStation treatment planning system. The existing dose engine for helium and carbon ion beams has been extended to support protons, oxygen and neon ions, and support has been added for dose computation and plan optimisation for any combination of these ion species. The implemented functionality has been evaluated in two phantom cases and a patient case. Multi-ion treatment plans have been shown to outperform carbon ion treatment plans in terms of simultaneously providing plan robustness, uniform RBE-weighted dose and high LETd. In the patient case, the multi-ion plan displayed significant improvements in the ability to "paint" high LETd in the target. Clinical studies are required to determine to what extent this new modality increases treatment quality in practice.

The so-called “Fabulae” written by Odo of Cheriton (1180/90-1246/47) owe their traditional title to Hervieux’s edition published in 1896, still used as a reference. This work aims at providing the reader with a new edition based on an accurate philological inquiry into the text and its manuscripts. If the literary features of Odo’s fables have, indeed, been studied, especially in regard to their innovative elements, such as their christianized morals and the relationship of the tales to preaching, the collection has not been studied from a philological point of view. Before this research there was no clarity in regard to the total number of tales, which varied in previous editions between 60 and 117, nor to the determination and inner divisions of the corpus; moreover, all previous editions are based on only one manuscript or little more. As a matter of fact, Hervieux basically published a codex optimus that he only occasionally emended – but did not declare where he operated basing the correction on other manuscripts and where he did so ope ingenii – which is Cambridge, Corpus Christi College, 441; other editions are the ones done by Voigt (1878), Oesterley (1868 and 1871) and Perry (1952). Voigt is the only one to study the relationship between codices, although only between a small portion of them (11); Oesterley uses only one manuscript in both his editions (although the two are different between one another) and Perry only publishes a selection of the tales present in Hervieux, adding an apparatus which informs the reader on variantes available in the already existing studies, but not conducting a new research himself. Other issues of Odo’s status queastionis are the absence of a comprehensive study of his works, all unpublished apart from 65 of his “Sermones dominicales” (Paris, 1520) and the tales themselves, the lack of a census and, concerning the fables, of a systematic analysis of the whole collection. This situation prevents from making extensive comparisons and evaluations of the author’s usus scribendi, which is why the first purpose of this dissertation was a general introduction that could account for the main literary features shared by the whole collection. Starting from a short contextualization of Odo’s biography and his other works, we looked into the prologue of the tales, that heavily references the Sacred Scriptures and relies on the allegorical method proper to exegesis, which is strongly stressed, even more so than the usage of Aesopical tales in the collection, although as important. Secondly, the title itself has been questioned: even if the collection is usually called “Fabulae”, the manuscripts never offer this lectio, which is instead Hervieux’s arbitrary choice. In the prologue, Odo talks of his work not as fabulae, but instead as a tractatus parabolicus: if one is to give the collection a proper title, then, the latter one must be used, although there is no evidence of a specific rubric redacted by Odo to be used as a title. One of the new discoveries made in this research is then the refusal of the title currently used and the clarification of another ambiguity derived by Hervieux’s edition. As a matter of fact, the French scholar not only arbitrary called the tales “Fabulae”, but also decide to publish some excerpta from Odo’s sermons under the title “Parabulae”. He did so by isolating these extracts from ms. Paris, Bibliothèque nationale de France, lat. 16506, thus creating a significant confusion in subsequent research trying to address the two texts: even nowadays it is quite hard to understand if a catalog is, for example, talking about the tale collection or the sermons. During this research, it was discovered that some extracts on fables topics from the sermons actually circulated throughout the Middle Ages, as nine manuscripts who hold them included them into bigger exempla collections; nonetheless, these exceerpta never constituted an independent work, and the only tale collection produced by Odo is the one that should more properly be called tractatus parabolicus. Moreover, the introduction includes a short analysis of the main literary features of the text, with a particular attention given to the mixing up of the fable and exemplum genres in Odo’s work, as he used for every one of his stories the allegorical method proper to biblical exegesis. The aim of such an introduction is to be a first step into a deeper and more complex analysis of Odo’s works as a whole, an accomplishment that, however, will inevitably need wider studies dedicated also to the other books he wrote in order to be completed. In regard to the tale collection, particularly developed is its social and religious critique, which Odo wanted to express in his allegory-rich and heavily christianized morals. This critique is addressed especially against ecclesiastical hierarchies – not the Church itself, but its people – but not only those; it is against all who abuse their subjects when in a position to exercise power over others. Odo thus condemns not only bishops, ministers and prelates who only worry about earthly matters and fall short of their responsibilities, indulging in vices instead, but also rich masters and rulers who vex their subjects. However, Odo’s attack does not spare the humbles too, who are criticized when they try to improve their social standing and thus forget their place, or who are more generally guilty, as anyone, of the seven deadly sins, of lack in faith or of conducting themselves not virtuously enough. It can be easily noticed, then, that Odo had a strong drive towards contributing to reforming his contemporary society, whose morals felt in need of a deep renovation. Lastly, the introduction addresses shortly the success of Odo’s collection, which was translated into vernacular three times (into Gaelic, Chwedlau Odo, into Old-French, Les Parables Maystre Oe de Cyrintime, into old Spanish, Libro de los gatos); apart from these works, it must also be mentioned that Odo probably influenced Nicole Bozon, John of Sheppey and maybe, Clemente Sánchez, Stephan of Bourbon and the Speculum laicorum as well. After the analysis of the main literary features of the collection, the research proceeded with the production of a new, updated census of the manuscripts transmitting the Tractatus parabolicus. Seventy-one codices have been found, in comparison to Hervieux’s twenty-five and to other ten that had already been identified by previous bibliography (see Dicke-Grubmüller 1987 and Welter 1927). Thanks to this recensio we were also able to investigate the definition itself of Odo’s corpus, a topic made quite complex by the constitutive mobility of the fable genre in the Middle Ages. As a matter of fact, it is quite common for the author and text identity to be easily and almost immediately lost in this genre, also due to the easy addition or elimination of some of the apologues due to different motivations, that vary also from manuscript to manuscript. Since tales were often included into bigger collections that took on from various sources, it is extremely difficult to determine the original corpus. Moreover, in Odo’s case the matter is even more complicated due to a sometimes ambiguous internal division of tales, once again partially depending on Hervieux’s choices, partially on the tradition itself. As a matter of fact, Hervieux chose to number the tales not progressively, but by sometimes adding letters onto numbers, especially when he thought that two consequent tales revolved around the same topic. One then finds, for example, tales 56, 56a, 56b, 56c, which Hervieux separated in his edition but which should instead considered as only one fable; conversely, tales 1, 1a, 1b, 1c, 1d e 1e are on one hand independent ones (1, 1a, 1c, 1e), on the other the result of corruptions of the tradition (1b, 1d). At the same time, manuscripts sometimes don’t distinguish clearly between Odo’s tales, fusing some together or dividing others in peculiar ways, so a degree of uncertainty is to be found not only in the history of studies, but also in the tradition itself. Another accomplishment of this dissertation is thus precisely giving a new, clearer definition of the corpus, not only in regard to its internal divisions, based upon the manuscript tradition, but also to their number and the identification of spurious fables, such as 76, 1b and 1d. Starting from the new recensio, the dissertation then proceed onto the philological and textual analysis of the collection, with the hope of tracing a stemma codicum. We thus selected thirty-six manuscripts according to their antiquity, place of origin (with a predilection for England) and portion of the text transmitted, into which some loci critici that cover around one-third of the work were identified. Unfortunately, though, manuscripts present a lot of different variantes, but not of stemmatical importance: they are often lectiones adiaphorae and/or small differences in the order of words, alteration of conjunctions, verbal tenses and so on. It was then not possible to trace a proper stemma, but we still tried to account for the different features of the tradition. Five different orders in the transmission of the collection were found, which seem to present themselves also when studying the text of the loci critici. Apart from one (δ, linked to order D and to one manuscript of the order A), it is improper to talk about families, but it is only possible to group the non fragmentary codices – we intend with the expression “fragmentary codices” all those manuscripts that only transmit a maximum of ten tales, generally dispersed within the codex itself, which usually collects materials from different sources – based upon quite uniform geographical areas. That is to say that there seem to be a link between almost all German manuscripts and one Italian one (Wo, order B), between the bohemian and eastern-European codices (order C), between some English manuscripts and two French ones (order E), whereas the majority of the English codices (plus two German, one Austrian, one bohemian and two French) share order A. The five orders that can be identified in most of the tradition seem to have also a textual foundation, although only δ features proper errors. Once the philological inquiry, conducted on a wide portion of the textual witnesses, was completed, the impossibility of a stemma made necessary to conduct the edition based on different criteria. We have thus relied first of all on the most ancient manuscripts, dating back to the 13th century; in order to balance the fact that all of them, apart from C1, do not transmit tales 61-75, we have chosen to add to this number two German codices (B5 Ba), considering that the German group is the only one to hold this portion of the text as well, and another English manuscript, Du, in order to better represent the tradition. The critical edition thus follows a conservative approach, that mostly relies to C1, quite close to the author, but corrects its mistakes by integrating its testimony first of all with B2 C2 L4 O2 V, the most ancient manuscripts, and then B5 Ba Du, as already stated. For the portion of the text collated for the loci all the thirty-six manuscripts used in the collection itself were also included. The critical apparatus thus concerns nine codices for the whole text, thirty-six for the loci. Lastly, the edition also provides the first Italian translation of Odo’s fables and a small paragraph that, tale by tale, reminds the reader of the witnesses of the text and of other retellings available in a selection of other medieval Latin fabulists, apart from references to the principal repertoires of the genre. To sum up, this dissertation had as its purpose not only trying to account for the main literary features of the Odo’s fables collection, even if, of course, in a limited way, but also studying this work from a philological and textual point of view. We thus tried to offer a wide as possible exam of the tradition, although very complex, proposing then a new critical edition of the text that tries to overcome Hervieux’s, so as to give the reader the tools needed to approach a text as solid ad possible. We wish that, in the future, similar endeavors will be conducted for all of Odo’s works.

Cardiovascular disease is a major cause of morbidity and mortality around the globe, which is linked to athero-thrombosis. The risk factors for atherothrombosis, thus cardiovascular disease is impaired anti-thrombotic and antiinflammatory functions of the endothelium. Thrombosis is a hallmark of cardiovascular disease/complications characterised by increased platelet activation and increased secretion of platelet micro-particles that induce angiogenesis. This study determined the role of platelet micro-particles derived microRNA in the regulation of angiogenesis and migration, with a focus on the regulation of thrombospondin-1 release by platelet micro-particles delivered Let- 7a. The role of thrombospondin-1 receptors (integrin beta-1 and integrin associated protein) and downstream caspase-3 activation were explored by Let-7a inhibition prior to PMP treatment. MicroRNA dependent modulation of proangiogenic proteins including monocyte chemoattractant protein-1 and placental growth factor, and recruitment of activating transcription factor-4 protein to their promoter regions were explored. Main findings are: 1. Platelet micro-particles induce angiogenesis, migration, and release of novel cytokine subsets specific to platelet micro-particle’s RNA content. 2. The targeting of thrombospondin-1 mRNA by platelet micro-particles’ transferred Let-7a chiefly modulate the angiogenic effect on endothelial cells. 3. The inhibition of thrombospondin-1 translation enable platelet micro-particles to increase angiogenesis and migration in the presence of functional integrin beta-1 and integrin associated protein, and reduced cleaving of caspase-3. 4. Platelet micro-particle modulate the transcription of monocyte chemoattractant protein-1 and placental growth factor in a Let-7a dependent manner. 5. Let-7a induce angiogenesis ii independent of other platelet micro-particle’s microRNAs. Platelet micro-particle derived Let-7a is a master regulator of endothelial cell function in this model, which presents an opportunity for the development of new biomarkers and therapeutic approaches in the management of cardiovascular disease. Future studies should aim to confirm these findings in-vivo.

The aim of this work is the application of techniques developed in the domain of corpus linguistics to a collection of ancient Greek texts, taking into account not only the canonical text established by modern editors, but also the variant readings recorded in the critical apparatus or in the repertories of conjectures. The dissertation is divided in three connected parts: construction, mapping and analysis of the corpus. The first part is devoted to corpus construction and it is focused on the techniques to improve the OCR accuracy on classical critical editions. This task is challenging because critical editions are multilingual, the set of characters to recognize is wide and the quality of last centuries paper is variable. Three OCR engines are applied to the same texts and a Bayesian classifier, joint to a specific spell-checker, evaluates the most probable output. It is demonstrated that the improvement is significative and, in the best cases, it is more than 3%. The second part is devoted to the alignment of the contents extracted from critical apparatus and repertories of conjectures to the reference text. TOGLIERE A parser has been developed to classify the chunks of information (verse number, Greek word sequences, textual operation, scholar that suggested the conjecture). Alignment algorithms used to find the precise position of the conjecture in its context are illustrated in detail. The third part is devoted to the study of the semantic spaces of ancient Greek. The chapter is focused on the specificity of the corpus, that is morphologically complex, literary (both poetry and prose) and diachronical (from VIII century B.C. to XV century A.D.). The word senses in documents belonging to different genres are explored, and the diachronical change of meaning is observed. Finally, a couple of meaningful conjectures extracted in the first part is analysed, evaluating the most interesting reciprocal relations in the semantic space.

Senecan Medea in Deutschsprachiger Raum between the 18th century and today Analyzing the persistence of a mythological figure like Medea, who has endured through time and space, is a complex affair. It becomes apparent how the evolution of the heroine over the centuries assumes new meanings and adapts to constantly changing sociocultural contexts. Medea, already present in archaic mythological material, transcends the boundaries of strictly mythological meaning, and initially achieves full canonization in Greek and then in Latin theater. Indeed, through the tragedy of Euripides in 431 BC, a clear and well-recognizable “biographical career” is attributed to her, which later continues with the Senecan tragedy. In this work, the heroine from Colchis increasingly takes on the traits of a perfidious sorceress, approaching the anti-stoic essence of the monster. When she then seems to almost fade into oblivion completely throughout late antiquity and the Middle Ages, Medea later reappears on the international stage of the Renaissance and the Baroque era. Only from the end of the 18th century did Medea become widespread across Europe and proliferate in the new media of the 20th and 21st centuries on all continents. Thus, Medea's power is nurtured by the creative force of writers, dramatists, and librettists. Particularly in the European context, the Medea adaptations in German-speaking areas have so far enjoyed a lesser degree of systematics: they have been excluded from a coherent overall picture that also considered the influence of the archetype. For this reason, I have decided to focus this research work on the rewritings in German: here, literature picks up the classical myth and creates new versions that make use of unique and unrepeatable circumstances. Since the Euripidean tragedy is considered the most viewed tragic archetype, the model used here will be the Senecan tragedy, whose influence on the European and non-European dramaturgical tradition has often been overlooked. The structure of this work includes a first methodological chapter that lays the theoretical foundations for an in-depth analysis of the selected works, which are examined in a diachronic course in the second chapter. This chapter explores the survival of the heroine from the Classical and Medieval period to the modern and contemporary era, with particular attention to the various historical-cultural changes. The aim of this first part is to capture the often elusive, but just as often simply unexamined dependencies, of some German works on each other and from the Latin model. The result of this operation is a chronological and reasoned list of 86 German rewritings from the 18th to the 21st century in the form of a table, which constitutes an appendix to the research work. The second part begins with the third chapter, which contains the analysis of six representative works of different readings: furor and magic in Medea in Corinth (1786) by Friedrich Maximilian Klinger; Love and melodrama in Medea in Corinto (1814) by Johann Simon Mayr; the ethnic and political question in Medea in Prag (1949) by Max Zweig; the postmodern fragmentation in Medeamaterial by Heiner Müller (1983); the gender struggle in Der Schlaf der Vernunft (1984) by Ula Stöckl; and the psychoanalytic interpretation in M., nach Euripides (1984) by George Tabori. The six works selected here are considered exemplary for certain thematic and stylistic aspects and are essential to examine the Medea story from a critical perspective. The final chapter turns its gaze to the 21st century, highlighting the ongoing relevance of Medea as a source of new artistic truths, with a focus on Mein und dein Herz (Medeia) (2007) by Nino Haratischwili. The work concludes with an examination of potential future research directions and developments of the theme. The importance of Medea as a cultural, overarching icon is emphasized, which continues to deserve attention in academic studies.