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Serpent Heart: Animality, Jealousy, and Transgression in Martha Graham’s Medea

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Abstract

This paper explores Martha Graham’s Cave of the Heart and her approach to the Medea myth. It focuses especially on Graham’s decisions to situate Medea in a gynocentric world, not to include the children, and to make Medea’s sexual jealousy the central theme. I examine the similarities and differences between Martha Graham’s approach and that of Euripides and show that the two works have a different focus but bring about a similar effect: they both show Medea triumphant at the end, a woman who asserts her power by taking on both subhuman and superhuman features. The similarity of the endings serves in turn to underline basic differences in the two artists’ interests and approaches to the myth: Euripides focuses on the characters’ intellect and mental experience and questions sexual jealousy as being trivial and insignificant, while Martha Graham examines emotion through complex and unfamiliar movements of the body, showcases the overwhelming power of jealousy, and celebrates its intensity and importance.

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Notes

  1. For a biography of Martha Graham see A. De Mille, Martha: The Life and Work of Martha Graham, New York, 1956 (reprinted in 1991); D. McDonagh, Martha Graham: a Biography, New York, 1973; and M. Franko, Martha Graham in Love and War, Oxford, 2012. For the relationship between Graham and Campbell, see especially Franko, pp. 26-31.

  2. In her essay on Graham and Abstract Expressionism Polcari (1990) notes that the time just before and during World War II inspired a ‘more critical investigation of the human experience’ and that ‘psychological introspection’ became a popular subject in many forms of art in Europe and the US. S. Polcari, ‘Martha Graham and Abstract Expressionism’, Smithsonian Studies in American Art 4.1, 1990, pp. 2-27.

  3. M. Graham, Blood Memory, New York, 1991, pp. 20-21. Bannerman notes that Graham’s father studied the hand and foot gestures of his patients to determine whether there was a correlation between their movements and lying. H. Bannerman, ‘Greek-inspired Dance Theatre of Martha Graham’ in The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance, ed. F. Macintosh, Oxford, 2010, p. 264.

  4. For American Document as a ground-breaking work that explored the country’s history from the early years of colonization to her present and included in speaking excerpts from key American documents, such as Lincoln’s Gettysburg Address and the Declaration of Independence see E. Stodelle, Deep Song: The Dance Story of Martha Graham, London, 1984, pp. 105-8 and Franko, Martha (n. 1 above), pp. 19-44.

  5. Franko, Martha (n. 1 above), p. 20. Franko also explains that “while myth depends on an archaic past conveyed in archetypal narrative, utopia looks to an uncertain future, which is imagined both from an idealistic ethical perspective and through a viewpoint that permits criticism of the present” (p. 21).

  6. I thank the anonymous reviewer for IJCT who provided helpful comments on the evolution of Graham’s attitude toward myth.

  7. Franko, Martha (n. 1 above), p. 66. McDonagh also notes that Graham’s interest in myth was renewed through her relationship with Dr. Frances Wickes, a Jungian therapist who worked with Graham on dreams during her separation with Hawkins in 1945, pp. 186-7.

  8. Graham, Blood Memory (n. 3 above), p. 163.

  9. De Mille, Martha (n. 1 above), p. 263.

  10. Graham, Blood Memory (n. 3 above), p. 211.

  11. E. Stodelle, ‘The 20th Century Greek Experience’, Dance Observer, February 1963. Box10, Folder 6. RG54 American Dance Festival Records. Linda Lear Center for Special Collections and Archives, Connecticut College, p. 21.

  12. D. Dinovelli, ‘Memories of Graham as Guru’, a review in The Hartford Courant, 4 October 1981. Box10, Folder 7. RG54 American Dance Festival Records. Linda Lear Center for Special Collections and Archives, Connecticut College.

  13. For the influence that Hawkins had on instigating Graham with an interest in Greek mythology see Franko, Martha (n. 1 above), 2012 and Stodelle, Deep Song (n. 4 above) p. 145.

  14. De Mille, Martha, n. 1 above, (p. 280) notes that Mark Ryder, a prominent dancer in Martha Graham’s company, thought the dance was a response to Erick’s new love.

  15. From a recorded interview with Martha Graham: https://www.youtube.com/watch?v=1QPC2qJeFg4

  16. See Stodelle, Deep Song (n. 4 above) p. 143.

  17. The original titles of the characters were ‘One like Medea’, ‘One like Jason’, ‘Daughter of the King’ and ‘Chorus.’ The following year, the title of the dance changed from Serpent Heart to Cave of the Heart, and the titles of the characters changed to ‘Sorceress’, ‘Adventurer’ and ‘Victim’. The ‘Chorus’ remained the same (Stodelle, Deep Song, n. 4 above, pp. 143-4). In later performances the titles changed again to ‘Medea,’ ‘Jason’ and ‘the Princess.’

  18. Stodelle, “20th century Greek Experience”, discusses the Greek tragedians as inspiration for Graham’s Greek-inspired dances.

  19. For a detailed study of space in Medea see R. Rehm, The Play of Space: Spatial Transformation in Greek Tragedy, Princeton, 2002, pp. 251-69.

  20. Franko, Martha (n. 1 above), p. 85.

  21. In her essay about the relationship between Graham and Abstract Expressionism Polcari (n. 2 above, p. 4) explains that ‘Graham’s art, like much Abstract Expressionism was shaped as a mytho-ritual quest. As with the artists, Graham had always been interested in human behaviour.’

  22. De Mille, Martha (n. 1 above), p. 280.

  23. From a conversation with Penny Diamantopoulou, former soloist of the Martha Graham Dance Ensemble and Graham technique instructor at the National School of Dance in Athens, Greece, in December 2018.

  24. De Mille, Martha (n. 1 above), p. 280, quotes Noguchi on his interpretation of the set.

  25. From a conversation with Miki Orihara in January 2019.

  26. There are also allusions to imaginary spaces of the East and heroic past in Euripides’s play, as Hopman, Rehm and Wiles have pointed out. M. Hopman, ‘Revenge and Mythopoiesis in Euripides’ Medea’, TAPA 138.1, 2008, pp. 155-83; D. Wiles, Tragedy in Athens: Performance Space and Theatrical Meaning, Cambridge, 1997. In Euripides’s play, the doors used to enter the main stage building (called the skene) are symbolic of the passageway between the Greek world and the East, resembling the dangerous Symplegades, the Clashing Rocks of the Bosphorus. While Medea goes in and out of them, the nurse and chorus bring to our attention the dangerous and heroic journey that initiated Jason’s and Medea’s marriage (Wiles pp. 121-2; Rehm, pp. 254-5; and Hopman pp. 158-61).

  27. Yaari (2003) argues that many of Graham’s Greek-inspired dances are presented as the thoughts – be it memories, flashbacks, or dreams – of women. N. Yaari, ‘Myth into Dance: Martha Graham’s Interpretation of the Classical Tradition’, International Journal of the Classical Tradition 10.2, 2003, pp. 221-42.

  28. For the resemblance of this sculpture to a cage, see Stodelle, Deep Song (n. 4 above), pp. 142-3. Stodelle describes it as ‘an elongated sculptured form with copper wires raying outward’ and with ‘wiry branches swirling over it’.

  29. Polcari, p. 6.

  30. Cf. N. D. Cano, and J. Deane, Acts of Light: Martha Graham in the 21st century, Florida, 2006, p. 12.

  31. For Medea as the director in her own play see A. Pantazopoulou, ‘Medea as a Poet. A ‘Metadramatic’ Reading of Euripides' and Seneca's Medea’, MA Thesis, Aristotle University of Thessaloniki, Greece, 2015 and D. Boedeker, ‘Euripides' Medea and the Vanity of ΛΟΓΟΙ’, CP 86.2, 1991, pp. 95-112.

  32. The idea of the chorus representing both the chorus and the nurse of Euripides’s play was introduced to me in conversation with Penny Diamantopoulou in December 2018.

  33. Cf. Yaari, ‘Myth’ (n. 27 above), p. 232 and Stodelle, Deep Song (n. 4 above), p. 144.

  34. From a discussion with Miki Orihara in January 2019.

  35. Purkiss (2000) explains that Renaissance plays centred on Medea also displayed no interest in Medea as the child-murderer; instead they were fascinated with Medea’s fratricide and her decision to destroy her natal family in favour of her marital one. In Renaissance versions of Medea, the heroine is presented as a young girl conflicted between her loyalty to her natal family and her desire to marry into a new one. D. Purkiss, ‘Medea in the English Renaissance’, in Medea in Performance 1500-2000, ed. E. Hall et al., Oxford, 2000.

  36. Cf. K. Stratton, Naming the Witch: Magic, Ideology, and Stereotype in the Ancient World, New York, 2007, p. 52.

  37. Segal (pp. 20-28) points to the paradox in Medea’s character, as she is a woman who is both weak and strong, a victim but powerful, atrocious and sympathetic. C. Segal, ‘Medea: Vengeance, Reversal, and Closure’, Pallas 45: Médée et la Violence, 1996, pp. 15-44. See also Mackay and Allan, pp. 74-5. M. Mackay and A. Allan ‘Filicide in Euripides’ Medea: a Biopoetic Approach’, Helios 41.1, 2014, pp. 59-86.

  38. For the ways in which Euripides makes the audience sympathize with Medea, see Easterling, pp. 189-90: ‘The barbarian sorceress with a melodramatic criminal record who could so easily be a monster must become a tragic character, a paradigm, in some sense, of humanity.’ P. Easterling, ‘The Infanticide in Euripides’ Medea’, in Oxford Readings in Classical Studies: Euripides, ed. J. Mossman, Oxford, 2003.

  39. For the sociopolitical aspects of the play, see Friedrich 1993 who reads the play as a dramatization of the tension between the individual and the polis; and Segal, ‘Medea’ (n. 37 above) who argues that the play is about the violence and threat women can impose on the oikos and the polis. R. Friedrich, ‘Medea apolis: On Euripides’s Dramatization of the Crisis of the Polis’, in Tragedy, Comedy, and the Polis , ed. A.H. Sommerstein et al., Bari, 1993, pp. 219-39. Nugent suggests that Medea represents ‘the Athenian male’s worst nightmare of what may happen with a non-Athenian wife.’ S. G. Nugent, ‘The Stranger in the House’, Comparative Drama 27.3, 1993, pp. 306-27.

  40. For Medea’s interest in reproduction and the human need to continue one’s progeny, see Segal, ‘Medea’ (n. 37 above) and Mackay and Allan, ‘Filicide’ (n. 37 above). Segal points out that unlike modern society, in ancient Greece there was much value placed on the father’s need to create children and ‘continue the male line’, p. 16.

  41. Sanders, p. 43, points out that sexual jealousy is an emotion necessarily involving three people. E. Sanders, ‘Sexual Jealousy and Erôs in Euripides’s Medea’, Erôs in Ancient Greece, ed. E. Sanders et al., Oxford, 2013.

  42. For the emphasis on sexual jealousy in Martha Graham’s Cave of the Heart see especially De Mille, Martha (n. 1 above); McDonagh, Martha Graham (n. 1 above); Stodelle, Deep Song (n. 4 above); Yaari, ‘Myth’ (n. 27 above); and Franko, Martha (n. 1 above).

  43. From a conversation with Miki Orihara in January 2019.

  44. I am thankful to Miki Orihara for discussing in detail the dynamics of the opening scene with me.

  45. Sanders, ‘Sexual Jealousy’ (n. 41 above).

  46. Allan notes that Jason has a narrow definition of the ‘bed’ as meaning just ‘sex’, while Medea sees it as ‘as symbol of the ties of marriage and women’s wider domestic authority, not merely as a place of sexual fulfilment’, p. 61. W. Allan, Euripides’ Medea, London, 2002.

  47. Mastronarde (pp. 15-22) offers a clear and thorough discussion on the nature of Medea’s grievance and the reasons for why she is distressed and wants to get revenge. D. Mastronarde, Euripides’s Medea, Cambridge, 2002.

  48. In treating Jason as her equal, Medea ‘behaves as if she were in the masculine realm of politics’ (Segal, ‘Medea’, n. 37 above, p. 30). For Medea acting like a Greek male hero see H. Foley, Female Acts in Greek Tragedy, Princeton, 2001; M. Williamson “A Woman’s Place in Euripides’ Medea” in Euripides, Women, and Sexuality, ed. A. Powell, London, 1990; E. B. Bongie “Heroic Elements in the Medea of Euripides”, TAPA 107, 1977, pp. 27-56; and B. M. W. Knox “The Medea of Euripides”, Yale Classical Studies 25, 1977, pp. 193-225.

  49. For the importance of the clasping of the right hands and its value as a symbol of trust, but also of deceit and hostility, see Flory and Mastronarde, Euripides’s Medea (n. 47 above) pp. 28-31. S. Flory, ‘Medea’s Right Hand: Promises and Revenge’, TAPA 108, 1978, pp. 69-74. Mastronarde discusses the role of the right hand in oath taking, but also in supplication and committing violent acts. See also A. Burnett, ‘Medea and the Tragedy of Revenge’, CP 68.1, 1973, pp. 1-24. For the play’s emphasis on oath-taking and Jason’s unreliable speech, see Boedeker, ‘Medea and the Vanity of ΛΟΓΟΙ’ (n. 31 above).

  50. See for example, Medea 162-3 and 492-8. The value that Medea places on oaths becomes also evident in the scene with Aegeus; there Medea feels certain that her safety is secured when Aegeus agrees to swear an oath to the gods that he will provide shelter for her in Athens (see esp. 734-40 and 746-55).

  51. Cf. Allan, Euripides’s Medea (n. 46 above), pp. 60-61.

  52. Foley, Female Acts (n. 48 above) argues that Medea’s plan is all the more terrifying because it is the product of both her reason and her passion. H. P. Foley, Female Acts in Greek Tragedy, Princeton, 2001. Burnett, ‘Medea’ (n. 49 above), p. 22, sees Medea’s dilemma between ‘a pair of passionate imperatives’ suggesting that passion is at work on both sides of her inner conflict. She also sees it as a struggle between her masculine and feminine self.

  53. For Medea’s calculating nature, see Segal, ‘Medea’ (n. 37 above), p. 18 and Mastronarde, Euripides’s Medea (n. 47 above), n. on 1079.

  54. Foley, Female Acts (n. 48 above), p. 257.

  55. S. Foster, Reading Dancing, Berkeley and Los Angeles, 1986, p. 25. Foster also argues that the contractions create a sense of ‘suspended balance’ between the ‘mental and the physical’.

  56. Graham, Blood Memory (n. 3 above), p. 251. For Graham, the pelvis is important as the instigator of the movement, as it is the centre of one’s body, the place from where women generate life.

  57. H. Bannerman, ‘Martha Graham’s House of Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment’, Dance Research Journal 42.1, 2010, pp. 30-45. See p. 31.

  58. Graham loved life and living. In Blood Memory (n. 3 above) she discusses the contraction as ‘not a position’ but ‘a movement into something.’ ‘It is like a pebble thrown into the water’, she writes, ‘which makes rippling circles when it hits the water’ p. 251.

  59. In a panel on the dance dramas of Martha Graham, Julie Manlig also asserts that the contraction and release technique was meant to express ‘deep-seated emotion and desire’, p. 6. J. Manlig et al., ‘Clytemnestra and the Dance Dramas of Martha Graham: Revising the Classics’, Dance Chronicle 33.1, 2010, pp. 5-43.

  60. Bannerman describes it as a ‘spectacular dive forwards’ while one leg ‘shoots upwards in a split arabesque’, ‘like the tail of some venomous creature thrashing the very air she breathes.’ H. Bannerman, ‘Greek-inspired Dance Theatre of Martha Graham’ in The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance, ed. F. Macintosh, Oxford, 2010, p. 270.

  61. For a discussion of the music, including its alternation between lyrical and angular movements, see B. Heyman, Samuel Barber: the composer and his music. Oxford, 1992, pp. 263-78.

  62. Yukio Ninagawa’s Japanese Medea (first produced in 1978 and in several locations through 1999) also used red ribbons and made Medea and the chorus members spew these ribbons out of their mouths. According to Smethurst ‘Ninagawa’s staging suggests on one level that the chorus and Medea are spewing blood: red ribbons can signify blood in both kabuki and bunraku.’ M. Smethurst, ‘The Japanese Presence in Ninagawa’s Medea’ in Medea in Performance 1500-2000, ed. E. Hall et al., Oxford, 2000, p. 198. However, as Smethurst explains, red ribbons are also used to express one’s love or to check the expression of any kind of emotion. By spewing out the ribbons, ‘Ninagawa subverts and inverts the conventional pattern in which the young woman coyly exhibits her love or characters attempt to hold back their feelings. […] The egurgitation of the red ribbons is a stunning alteration, indeed subversion of kabuki practices.’

  63. For interpretations of this red cloth, see De Mille, Martha (n. 1 above); Bannerman, ‘Greek-inspired Dance’ (n. 60 above), p. 270. Stodelle, Deep Song (n. 4 above), pp. 141-2, suggests that the red cloth might be connected to the she-dragon that she had to put to sleep to help Jason get the Golden Fleece; now that Jason has decided to abandon her, the serpent that she had to put to sleep reawakens inside of her.

  64. I am thankful to Miki Orihara for discussing with me the movements of each dancer.

  65. Cf. Stratton, ‘Naming the Witch’, (n. 36 above), pp. 51-2, who argues that Euripides represents Jason as being ‘sensible’ but cold. He operates with logic, not emotion and ‘reasonably negotiates a more secure future for himself’.

  66. From a discussion with Penny Diamantopoulou in December 2018.

  67. I owe much of my description of Jason’s and the princess’ movements to M. B. Siegel, ‘The Harsh and Splendid Heroines of Martha Graham’, American Poetry Review, Jan-Feb. 1975.

  68. From an unattributed 1988 review of the dance that appeared in the Village Voice. Courtesy of the Martha Graham Resources.

  69. Rehm, Play of Space (n. 19 above), pp. 255-7, argues that Euripides’ Medea creates a spatial contrast between Medea’s home and the princess’ palace in Corinth. Whereas Medea removed herself from her natal family and joined Jason in their new home in Corinth, the princess is unable to detach herself from her first family and dies together with her father in her natal home.

  70. See De Mille, Martha (n. 1 above) pp. 295-6, who gives a detail description of Medea’s movement and compares her to a hungry and angry animal.

  71. The likening of Graham’s Medea to a dancer in a religious rite was first made in the dance’s first review in the Dance Observer in June-July 1946. Courtesy of Martha Graham Resources.

  72. In the first performance of the dance the characters in the dance were named ‘one like Medea’ and ‘one like Jason,’ pointing to the archetypes these characters represented in myth. For the titles of the characters in the dance see Stodelle, Deep Song (n. 4 above), pp. 141-5.

  73. Cf. R. Padel, Whom the Gods Destroy: Elements of Greek and Tragic Madness, Princeton, 1995. Padel argues that madness for the Greeks was considered a temporary condition that one goes in and out of. Agave, for example, is in a state of madness when she kills her son Pentheus; hours later she realizes and laments her mistake. See also Mackay and Allan, ‘Filicide’ (n. 37 above), pp. 71-2, who argue that though Medea is not mad, she does act in ways that are compatible with mentally deranged mothers that are diagnosed with psychotic illness.

  74. Padel, ‘Whom the Gods Destroy’ (n. 73 above), p. 144.

  75. ibid. p. 143.

  76. In 1950, Cave of the Heart was performed for the first time in Europe in Paris. Pierre Tugal, a Paris critic wrote: ‘With respect to the work exhibited, it cannot be denied that compared with the type of dance to which Paris is accustomed, these are as difficult for the average viewer to absorb as a crossword puzzle, accustomed as they are to pretty spectacles, which do not demand much from either intellect or emotion.’ (De Mille, Martha, n. 1 above, p. 297).

  77. In arousing fear and pity, Medea could also be a manifestation of the form that humans take when they are controlled by evil. For Cave of the Heart as a work about the triumph of evil, see R. Sabin, ‘Martha Graham and Dance Company’, a booklet about the company, 1965. Box10, Folder 6. RG54 American Dance Festival Records. Linda Lear Center for Special Collections and Archives, Connecticut College.

  78. Stodelle, Deep Song (n. 4 above), p. 219.

  79. For Medea being likened to an animal in Euripides’ play see D. Boedeker, ‘Becoming Medea: Assimilation in Euripides’ in Medea: Essays on Medea in Myth, Literature, Philosophy, and Art, eds. J. Clauss and S. Johnston, Princeton, 1997.

  80. In a 2008 panel about the dance dramas of Martha Graham (published in J.Manlig, ‘Clytemnestra and the Dance Dramas’) dance critic Deborah Jowitt suggests that while unused, the sculpture calls to mind the Golden Fleece that Jason got, but when Medea puts it on it’s like a cage or garment that surrounds her with flames, p. 16.

  81. In a 1989 article in the NYTimes, Graham herself likened this sculpture to a chariot of flames. M. Graham, ‘Dance: From Collaboration, A Strange Beauty Emerged’ in The New York Times, 8 Jan. 1989.

  82. Many scholars have seen connections between Medea’s spider dress and her grandfather Helios. De Mille, Martha, n. 1 above, (p. 279) argues that the spider dress at the end of the play recalls the sun god and suggests a return to Medea’s origins; Siegel thinks that the dress turns her into the bird and connects her to the sky and the chariot of the sun; and in a panel about the dance dramas of Martha Graham, Deborah Jowitt, suggests that the sculpture calls to mind the Golden Fleece that Jason stole (Manlig, ‘Clytemnestra’). Stodelle, Deep Song (n. 4 above), p. 143, also suggests that the ‘twisted coils’ of the sculpture might be ‘suggestive of hardened pathways to her heart.’

  83. De Mille, Martha (n. 1 above), p. 280.

  84. See for example Cunningham, pp. 209-11, who argues that Medea’s appearance on the chariot of Helios emphasizes the loss of her humanity. M. P. Cunningham, ‘Medea ΑΠΟ ΜΗΧΑΝΗΣ’, CP 49.3, 1954, pp. 151-60.

  85. Segal, ‘Medea’ (n. 37 above), p. 28.

  86. E. Hall, ‘Medea and the British Legislation before the First World War’, Greece and Rome 46:1, 1999, pp. 42-77.

  87. Cf. Mackay and Allan, ‘Filicide’ (n. 37 above), who argue that Euripides’ retelling of the Medea myth follows the theory of evolutionary psychology which considers human story-telling as always giving preference to ‘tales concerned with sexual and social dynamics and the optimization of reproductive opportunity’, p. 75. Looking at the tragedy through an evolutionary analysis ‘the heart of Jason and Medea’s struggle lies in the irreconcilability of conflicting biologically evolved behaviour’, p. 75.

  88. Cf. Segal, ‘Medea’ (n. 37 above), p. 27. Nugent, ‘Stranger in House’ (n. 39 above), pp. 311-12, points to the control Medea has over reproduction and notes that by killing the children, it is as if Medea is erasing her status as a wife in her husband’s household. She also argues that, similarly, when Seneca’s Medea kills her children she is ‘re-virginating herself’.

  89. From D. Dinovelli, ‘Graham: the Spirit Moves towards the Light’, a review in The Hartford Courant, 4 October 1981. Box10, Folder 7. RG54 American Dance Festival Records. Linda Lear Center for Special Collections and Archives, Connecticut College.

Acknowledgements

I am very grateful to Penny Diamantopoulou, former soloist of the Martha Graham Dance Ensemble and Graham technique instructor at the National School of Dance in Athens, Greece, for bringing me into the world of Martha Graham when I first took Graham classes with her in Athens from 2001–2003. Her classes are still vivid in my mind and have been an enormous source of knowledge and inspiration for this project; I have also benefited from a discussion with her about Cave of the Heart in December 2018. I am also grateful to Miki Orihara, former principal with the Martha Graham Dance Company, for meeting with me in January 2019 and sharing her perspective on dancing the roles of both Medea and the princess. Special thanks also go to Zina Giannopoulou, Afshan Jafar, Sarah Nooter, and Jesse Weiner for comments and suggestions at various stages of this article; to the audience members of my talk at the annual conference of the Pacific Ancient and Modern Languages Association in Bellingham, WA, at Boston University, and at Connecticut College for their enthusiastic response and constructive feedback; to Rose Oliveira for help with the Connecticut College archives; to Oliver Tobin for assistance with Martha Graham Resources; to the anonymous reviewers and editor of IJCT for helpful comments; and to my daughters, Nora and Natalia, who have given me a new appreciation of dance. My greatest gratitude goes to Tobias Myers for always nurturing and sharing my love for both the ancient world and dance.

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    Nina Papathanasopoulou

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Papathanasopoulou, N. Serpent Heart: Animality, Jealousy, and Transgression in Martha Graham’s Medea. Int class trad 28, 159–182 (2021). https://doi.org/10.1007/s12138-019-00541-3

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