Médousa in Later Traditions
The Romans adopted Médousa directly, and her image proliferated on shields, mosaics, and architectural elements across the empire. Neoplatonists read the petrifying gaze as the material world that must be transcended. Freud made her head the archetype of castration-anxiety and the terror of the female; feminist readings from Hélène Cixous's 'The Laugh of the Medusa' (1975) onward reclaimed her as the figure of female rage and the male fear of being looked back at — turning Ovid's victim into an avenger. Vernant's La mort dans les yeux (1985) restored her to her proper strangeness: not a symbol of anything, but the face of the look that kills. Her image persists in Caravaggio, in Versace's logo, and in psychology itself, where 'Medusa' names the moment desire turns to stone.


