In Jules Dassin’s 1960’s film Never on Sunday, Ilia is a Greek prostitute at the port of Piraeus, who is very fond of Greek tragedy. Yet, while she has seen Euripides’ Medea fifteen times, she keeps denying that, at the end of the play, Medea kills her children. This article explores the reasons why Ilia insists on seeing the play again and again, while also insisting on recasting a revenge plot into a love story with a happy ending. Furthermore, it discusses gender dynamics in the film, focusing on Ilia’s firm opposition to all female oppression. Finally, it argues that, through Ilia’s misinterpretation of Medea, Never on Sunday invites discussion of the various disguises of human vulnerability and of an all too common fear—the fear of love.

中文翻译：

---

美狄亚和其他女性在Jules Dassin的《Never on Sunday》中

在朱尔斯·达辛（Jules Dassin）1960年的电影《从不星期日》中，伊利亚（Ilia）是比雷埃夫斯（Piraeus）港口的希腊妓女，他非常喜欢希腊的悲剧。然而，尽管她已经看过Euripides的《美狄亚》十五次了，但她仍然否认，在剧本的最后，美狄亚杀死了她的孩子们。本文探讨了Ilia坚持一次又一次地看这部戏的原因，同时还坚持将复仇情节改写成一个幸福结局的爱情故事的原因。此外，它还讨论了电影中的性别动态，重点关注了伊利亚坚决反对所有女性压迫。最后，它辩称，通过伊利亚（Ilia）对美狄亚（Medea）的误解，“永不周日” 请讨论关于人类脆弱性的各种伪装以及一种过于普遍的恐惧-对爱的恐惧的讨论。