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The present paper focuses on the myth of Oedipus as presented in the Romanian folk tale Lostrița. Although the two narratives run in parallel for the main events, there are some distinctions worth mentioning in the attempt to see how West meets East over a universally acknowledged myth. At closer reading, we are bound to discover that some of the differences present in the Romanian story have a universal aspect as they transcend limits that might be imposed by geographical boundaries or cultural belonging. From this point of view, we can say that the Romanian variant is profoundly rooted in the universal wisdom shared by both the ancient and modern man. By capitalizing on this aspect of universality, the paper attempts to shed light on a Romanian folk creation that might otherwise go unnoticed. [ABSTRACT FROM AUTHOR]

Taking its cue from two recent articles on Euripides’ Oedipus (Liapis 2014, Finglass 2017), this paper addresses neglected evidence on fragments attributed to that play and reconsiders the question of their authenticity. A distinct dichotomy emerges between, on the one hand, fragments transmitted in authors relying on f lorilegia and, on the other, fragments ultimately deriving from non-f lorilegic sources. While the latter are above suspicion, there is reason to doubt the authenticity of the former. The paper also argues that there was no cross-pollination between the transmission of the authentic and the spurious Oedipus in antiquity, and that the latter’s readership was limited to milieus with links to rhetoric and education. Finally, the paper offers some general remarks which should be of consequence not only for the fragments of Euripides’ Oedipus, but also for the study of fragmentary Greek tragedies in general. [ABSTRACT FROM AUTHOR]

Copyright of Nova Tellus is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The “Laius complex,” named after Oedipus' filicidal and pederastic father, refers to the murderous and incestuous wishes of a parent toward a child. In its broader meaning, the Laius complex also includes any wish on the part of one in authority to symbolically murder or diminish a subordinate. Although the stories from myth and religion, as well as our own personal experiences and clinical observations, give us ample evidence of parental aggression and hostility, the Laius complex has been largely ignored in the psychoanalytic literature. This paper will explore why this has been so, and argues that the Laius complex does deserve more recognition than it has hitherto been given. The author begins with Freud and his understanding of Oedipus/Laius issues. Next, the contributions of George Devereux, Martin Bergmann, and others are discussed with an emphasis on the appearance of the Laius motif in myth and religion. Finally, the author discusses the implication of the Laius complex for psychoanalytic theory and clinical practice. [ABSTRACT FROM PUBLISHER]

This paper explores Shakespeare's comedy, in particular the poet's notorious metaphor of (off-centered) bias in desire, from the perspective of ethology and evolutionary biology. Following Dipesh Chakrabarty's call to risk thinking collectively about humanity's place in the era of the Anthropocene, this paper places Shakespeare's discourse of desire, itself richly indebted to Renaissance humoral psychology and Ovidian allusion, in the ecocritical context of evolutionary "deep history," where the genre of pastoral comedy can be seen to explore the phylogenetic patterns of human adaptation to environmental pressures. Shakespeare's comic portrayal of "giddy man" intimates what ethologists like Brian Massumi have identified as the pliable range or "supernormal" spectrum of psychological mechanisms responding to stressful social and environmental contexts. In plays like Much Ado About Nothing, Twelfth Night , and As You Like It , the aesthetic wonder of the comic plot captures the evolutionary unconscious of supernormal play. [ABSTRACT FROM AUTHOR]

Copyright of Annual Review of the Faculty of Philosophy / Godisnjak Filozofskog Fakulteta is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is widely known that Freud gives Oedipus a central place in both his psychoanalytic theory and praxis. Freud introduces the Oedipus myth as the crucial key for understanding the tragedy of human life. One of the most problematic issues innate to the human condition is aggression. This paper argues: (1) that Freud's insights into human aggression can at the very least be viewed as one-sided and problematic; and (2) that the heuristic potential of the Oedipus myth is, correspondingly, limited. It considers how the Hungarian psychiatrist and analyst, Lipot Szondi, tries to bridge this gap using the myth of Cain and Abel. The aim of this paper is to explore how Szondi's interpretation of this myth offers a much more subtle approach to human aggression. Szondi's alternative and distinctive look at aggressive phenomena offers an exciting and fruitful addition to Freud's interpretation as exclusively referring to sadism and/or the death instinct. This contribution wants to highlight Szondi's amendment to Freud's Oedipus and aims to show that psychoanalysis can benefit from taking into account the mythical figures of Cain and Abel. [ABSTRACT FROM AUTHOR]

In this paper, the verb solvere, its forms and linguistic complements as they appear in Seneca's tragedy Oedipus are examined. The verb reappears throughout the key moments of the play, but it also designates Oedipus' ability to decipher signs, and thus marks him as a solver-hero. Moreover, it creates an intertextual link between Seneca's text and texts of Ovid and Vergil, especially with their presentation of Daedalus. Oedipus is shown not only as a subject turned into an object, but as a subject who realizes that he becomes also an object, and who is able to reassert his agency. [ABSTRACT FROM AUTHOR]

The paper takes its cue from the emergence in our society of a new view of the adolescent, which a branch of the psychological literature has spelled out in terms of a passage from Oedipus to Narcissus. It is argued that pre-college ethics education should engage with this passage by deploying educational strategies modelled according to the Care of the Self paradigm (as theorized by Michel Foucault and Pierre Hadot) but revisiting it through Kierkegaard's idea of repetition. The latter prevents that paradigm from fostering a sort of aestheticization of ethical life and allows us to mobilize it in ethics education. Against this backdrop two pedagogical methods--autobiographical writing and essay writing--are discussed as possible tools for a Care-of-the-Self-oriented education. [ABSTRACT FROM AUTHOR]

The present paper deals with the messenger character from the perspective of transformation of its function in drama regarding its presence and use in the history of drama where it focuses on messenger figures in Sophocles' Oedipus King and Shakespeare's Antony and Cleopatra, and in the context of contemporary mainstream British drama in the plays Arcadia by Tom Stoppard and Copenhagen by Mychael Frayn. Based on the contrasts between examples from classical and contemporary plays, the study shows that Messenger disappears as an independent character while its functions within dramatic narrative strategies remain preserved as other main dramatic characters take on this function, which had belonged to nameless Messenger figures. It also focuses on formal aspects of messengers' narratives, the 'reportage', and it shows the ways these narratives are incorporated into the drama as a whole. [ABSTRACT FROM AUTHOR]

The pervasive influence of the Oedipus complex on world culture is a given, yet throughout the long history of motion pictures only one major filmmaker has tackled the literary source that inspired Freud. The film, Edipo Re, directed by Italian poet, novelist, and social and political activist Pier Paolo Pasolini, not only reconstructs the myth and adapts Sophocles' tragedy, but uses both as a basis of cinematic autobiography. This paper is a detailed analysis of the formal, stylistic, and thematic dimensions of this film, illustrating the complex manner in which Pasolini interweaves myth, play, and autobiography into a unique cinematic achievement. This analysis is followed by speculations on the implications of the film's structure and techniques and on what they reveal about Pasolini's character, his sexual profile, and the ignominious murder that ended his life. [ABSTRACT FROM AUTHOR]

Critics have interpreted Pasolini's Edipo Re from a psychoanalytical point of view as the reenactment of Pasolini's own Oedipus complex, in which the famous director identifies himself with the Greek hero. In this paper I argue that this identification has a further dimension. Drawing on the evolution of the Oedipus character in Sophocles' Oedipus at Colonus, Pasolini uses the figure of Oedipus as the blind sage as a symbol of his own role as intellectual/seer in the modern world and of his isolation in contemporary 20th century Italy. [ABSTRACT FROM AUTHOR]

The meeting of Deleuze and Guattari in 1969 is generally used to explain how the former's thought became politicised under the influence of the latter. This narrative, however useful it might be in explaining Deleuze's move away from the domain of academic philosophy following the upheavals of May 1968, has had the effect of de-emphasising the conceptual development which occurred between Difference and Repetition and Anti-Oedipus. Worst of all, it has had the effect of reducing the role of Marx's philosophy to the superficial level of political alibi, impoverishing our understanding of its importance with respect to the conceptual assemblage of Anti-Oedipus. This paper attempts to restore Marx's relevance to Deleuze and Guattari's project by understanding Anti-Oedipus through the Marxian categories of production, distribution, surplus-value and consumption, and argues for a conception of schizoanalysis which does not relegate the name of Marx to the garbage heap of poststructuralist intellectual strategy. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Analytical Psychology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What if Jocasta was not simply effaced at the end of the Oedipus play but developed as an icon of the persistent intersection of violence and motherhood in war time? What would that do to the taboo of Jocasta's incest and the horror of how that taboo lives on in her children? This article argues that through the concepts of replay and resonance, two Oedipal dramas (Pierre Corneille's 1659 Œdipe and Wajdi Mouawad's 2003 Incendies), separated by some three-hundred years, ask the audience to listen again to past traumas, to build on them and reframe them within new socio-political contexts. [ABSTRACT FROM AUTHOR]

The article reviews the sixth volume of the periodical "Le fil d'Oedipe[The Thread of Oedipus]."

Drawing on Lacoue-Labarthe's deconstruction of Oedipus as a figure of both desire and work in his tragic pursuit of knowledge, this paper maps Lacan's radical reorientation of the philosophical categories of desire, work, and knowledge in his theory of the four discourses. While all four discourses constitute libidinal and political economies, only the hysteric's discourse entails both the desire for and the production of knowledge – particularly mythical knowledge with its impossible truth of sexual difference. Returning to Sophocles'Antigonein light ofSeminar XVII, I argue that if Antigone has all but replaced Oedipus as a figure for modern subjectivity it is because she, like the hysteric, is a figure of not only desire but work under capitalism. [ABSTRACT FROM AUTHOR]

Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to reconstruct the traces that romanian folklore left within the works of three prominent italian writers and intellectuals of the second-half of the twentieth-century: Franco Fortini, Ernesto de Martino and Pier Paolo Pasolini. In his first book of poetry, Foglio di via (1946), Fortini translated, from a french version made by Ilarie Voronca, some romanian funeral songs, trying to conceal file folkloric sources, in order to misappropriate them. The same archaic ceremonial songs are used, as historical and ethnographic evidences, by Ernesto de Martino in his great anthropological survey on european funeral laments, Morte e pianto rituale (1958), and then by Pier Paolo Pasolini as a soundtrack for his movie Oedipus Rex (1967). In all of this cases, the fascination for the romanian popular poetry is tangled with reticences and ambiguities, that reveal the complex relationships existing between intellectuals and popular traditions in twentieth-century culture. [ABSTRACT FROM AUTHOR]

The 'political history of truth' promoted by Foucault reaches several times ancient Greek world. In one of those occasions he analyses Oedipus the King, by Sophocles. His point of view is consistent with theorists like Jean-Pierre Vernant whereby tragic contests plays a civic function in the environment of democratic polis. This paper discusses Greek judiciary practices and his mechanisms of truth, pointing tragedy as privileged document and possibly watershed. [ABSTRACT FROM AUTHOR]

The article focuses on intelligibility and transcendence in narrative. It mentions that Aristotle compares in his "Poetics" book the parts of a drama characters and speeches to the parts of an animal, drawn together and given unity by the overall form of the creature. It also mentions that Oedipus's combination of stubbornness and zeal for justice leads him to pursue the truth of his birth.

The Oedipus myth has a special meaning for the history of psychoanalysis. An analysis of the historical variation of the myth treatment within the theatre gives new insights about the possible interpretation. Comparing the various psychoanalytic interpretations of Sophocles' tragedy also gives interesting indications on the same subject. [ABSTRACT FROM AUTHOR]

ABSTRACT The Oedipus at Colonus presents us with a difficult choice if we are to understand its original staging: the play must either use four actors or at least one role must be shared between more than one actor. Based on comparable experimentalism seen in other late plays of Sophocles, I argue that the character of Theseus should be divided among the three actors. This role-splitting creates two dramatic benefits. One, it enables Sophocles to enhance the dramatic subtext of particular scenes when the Theseus actor changes. Two, it allows Sophocles to make Theseus and his actions a reflection of Athenian democratic values. [ABSTRACT FROM AUTHOR]

Copyright of Mouseion is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the play King Oedipus written by W.B. Yeats is presented. It explores an instance of classical reception described in the book. It analyzes the process of creating the King Oedipus which can be divided into two periods. It highlights the influence on Yeats's thoughts about art and poetry of the Greeks.

This work aims to shed light on Elsa Morante’s portrayal of Antigone in La serata a Colono (1968) and suggests that, behind Antigone’s apparent innocence and illiteracy, Morante develops the prototype of an idiot savant, which perfectly dialogues with María Zambrano’s conception of the idiot that the Spanish philosopher describes in España, sueño y verdad (1965). The present study contends that Zambrano’s work can be considered an exemplary source for Morante’s La serata a Colono and specifically for Antigone’s portrayal, since this character shares with Zambrano’s idiot several qualities. Despite Antigone’s ‘primitive’ and ‘barbarous’ mind, the idiot ‘ragazzina’ is able to grasp truths about reality which primarily rationalistic forms of knowledge are unable to comprehend. She can also see the world’s decline and offer effective alternatives to the conflicts of the twentieth century, such as pity and care for the other. Further evidence of Antigone’s special kind of idiocy can be found in her ungrammatical language, which is highly ‘performative’ and spoken by a subject who represents a new form of humanity. In endowing Antigone with such an idiom, I argue that Morante anticipates some tenets of Judith Butler’s interpretation of the Greek heroine, as presented in Antigone’s Claim. [ABSTRACT FROM AUTHOR]

The article focuses on human sexuality and kinship. It discusses the relationships of mythological Greek king Oedipus and mentions a book "The Erotic Life of Racism" by Sharon Holland. It also discusses the existence of oedipal crisis in sexual relations and mentions a novel "Absalom, Absalom!" by William Faulkner.

This paper looks at structure and subject, and tackles what do we know of Oedipus' desire. It also advances the proposition that the idea of 'structure and subject' can be said to represent a short history of psychonalytical thinking in itself. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Psychoanalysis is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay develops the multiple 'passional' implications implied within every act of reading. Texts have the potential power to elicit the passions of the reader through various textual strategies that, in turn, enable the reader to become emotionally or passionally involved in the narration and, furthermore, to share in the emotions of the characters. The second part of this essay presents a reading of a story by Friedrich Durrenmatt, 'The Dying of the Pythia,' which appeared not long before Eco's work, Lector in Fabula, . [ABSTRACT FROM AUTHOR]

Far from being a recent invention, depth psychological thinking already features extensively in classical Greek mythology, more specifically in the stage plays of the great Athenian tragedians of the fifth century BCE. In this century large parts of Greek civilization had embarked on a process of rapid modernization, and the tragedians seem to have felt the need to give their artistic comments on these developments. Their (implicit) analysis of how the human mind works is depth psychological in all but name. The paper focuses on the Pre-Socratic world view in general, and on the tragic notion of hybris in particular. Finally it aims to show the underlying depth psychological structure of Aeschylus' Oresteia. [ABSTRACT FROM AUTHOR]

This paper presents a late-20th century interpretation of Shakespeare's Hamlet using Bruce Fink's account of the Lacanian theory of character structures, the work of Robert Hare on white-collar psychopathy, Lucie Cantin on the pervert-hysteric couple, and that of other authors. In this example of applied psychoanalysis, Hamlet's character is described as vacillating between that of the obsessional and the hysteric. However, his delay in seeking revenge for his father's murder is understood as the result of his having to deal with Claudius, his father's brother, murderer, and replacement on the throne of Denmark, whose character is perverse and psychopathic. The play provides a fine illustration of emotional and behavioural effects in a group of people when, as a group and as individuals, they are engaged and manipulated, unawares, by such a person. Such situations are not infrequent in contemporary relationships, institutions, governments and in the histories of psychoanalytic patients. [ABSTRACT FROM AUTHOR]

Philip Roth's The Human Stain in developing a striking analogy between the story of the protagonist Coleman Silk and that of Oedipus draws heavily on two influential interpretations of Sophocles's King Oedipus advanced by Sigmund Freud and Friedrich Nietzsche. This essay focuses on how Roth's novelistic evocation of Oedipus repudiates the metaphysical and ideological affiliations of Freudian Oedipus and instead privileges the Nietzschean rendering of Oedipus that is characteristically Dionysian. [ABSTRACT FROM AUTHOR]

An abstract of the article "Freud's Oedipus: The Father and the Fiction," is presented.

The study presents a model of the dynamics of questioning and answering abilities across life-span and cultures. It attempts to work out an integrated perspective that uses different approaches to the interrogatives such as: developmental psychology, logic, linguistics, social psychology, anthropology, artificial intelligence, rhetoric and history. The construct Oracle-Sphinx uses two symbols: the Oracle, represents the answering authority and the acquired knowledge by previous generations that precede and influence the individual ontogenetic development; the Sphinx represents the question, its perplexing nature, its dangers and possibilities that must be confronted and answered by a questioned who, potentially, is able to generate questions. These two cultural symbols, and the practices represented by them both within historical development and ontogenesis are internalized and enhance the innate drive for search. The model Oracle-Sphinx, based on Oedipus myth, on other myths and legends and on empirical findings of previous studies on children's and adults' questions, identifies four major developmental stages of the inquiring (questioning/answering) abilities across lifespan and cultures: I) Questioning stage (early childhood); II) Predominant puzzle-solving (answering) stage (adolescence); III) The efficient alternation of questioning and answering abilities (adulthood); IV) The wise use of questioning, counter-questioning, and answering abilities (late adulthood). The study introduces also the issue of the most common interrogative phoneme across languages and the relationship between the interrogative attitudes and performance under different social conditions (open/democratic - versus authoritarian/totalitarian). [ABSTRACT FROM AUTHOR]

This article focuses on the presence of the story of Oedipus in films. It discusses the variations of works on Oedipus' story including myth, epic, tragedy, and comedy. It also explores various views on the story of Oedipus and Greek mythology that are being projected in films including "Edipo re" directed by Pier Paolo Pasolini, "Freud" directed by John Huston, and "The Matrix" directed by Andy and Larry Wachowski. It cites that films about Oedipus have modern and autobiographical settings and are updated versions of either Sophocles' "Oedipus the King" or the original myth. Moreover, it is noted that changes have been made in names, characters, plot and themes in these films.

The article talks about the history of the Oedipus complex, a medical terminology created by Vienna neurologist Sigmund Freud based on mythology. A brief summary of the legend of Oedipus is offered. Freud's confession to Berlin otorhinolaryngologist Wilhelm Fliess, which became the foundation of psychoanalysis, is discussed.

The rise and fall of two of the most famous legendary kings, Oedipus and David, seem to bear great resemblance to each other. This is especially the case in the central narrative of Sophocles' Oedipus the King and the Second Book of Samuel where the kings are usurped by a close relative upon the intercession of a violent third party. The article argues that the stories are based on conventions of the rise and fall of a sacred king who restores order to a violent and “plagued” kingdom. It proposes a comparative reading of the texts, in conjunction with an anthropological reading in accordance with the insights of Rene Girard. This will provide not only a way of reading these ancient texts but also give insight into the perspective of and reality referred to in the texts. This is to read the text with appreciation of the dynamics of text and reader through the anthropological perspective opened up by the recognition of the victim. [ABSTRACT FROM AUTHOR]

This article argues that the chorus of elders in Sophocles' "Oedipus Coloneus" is far from ineffectual, as some scholars assume choruses of elders generally are, but exceptionally authoritative in its role as a chorus. The exceptional authority of the Elders of Colonus derives from their old age, wherefrom their sympathy for Oedipus obtains, and from the fact that they are Athenian and thus have the capacity to enact their sympathy for Oedipus by granting him special rights of residency as an heroic protector of Athens. Detailed analysis of this particular chorus's speech, song, and action is helpful not only to our understanding of "Oedipus Coloneus" but also, more broadly, to our understanding of the ongoing, if not increasing, importance that the chorus will have maintained in ancient Greek tragedy. [ABSTRACT FROM AUTHOR]

The article presents the author's insights on the philosophical views towards fear and awareness of death. The author features Greek mythological character Oedipus who faces death even before he was born and the birth trauma he experience since his mother and father plan his own death. It mentions how Sigmund Freud associated castration anxiety with death. It also refers human creativity as a contributing factor towards fear of death and that human remains a component of nature.

Presents literary criticism of the essay "The Freudian Thing, or The Meaning of the Return to Freud in Psychoanalysis," by Jacques Lacan. Role of psychoanalysis in establishing the bridge between modern man and ancient myths; Denouncement of the influence of Freud on American psychoanalysts; Lacan's views on the limitations of the science of psychoanalysis; Use of the myth of Actaeon to examine Freud's premises.

The article presents a perspective on the myth and reality of generational conflict through the Greek mythology of Oedipus complex. The sheer drama of Oedipus inadvertent killing of his father and subsequent marriage to his mother has attracted writers throughout the ages. This myth led Austrian physician and neurologist Sigmund Freud's revolutionary use of the theme to help lay the foundation of one of the key elements of his theory of psychoanalysis. Freud stressed that any theme as universal in legend and literature as parricide must represent a deep human emotion. While myths may help to understand social reality, the problems in any one myth achieving overriding popularity is that the sum effect may be to present a biased picture of this reality. The true counter weight to the Oedipus tale must thus come from a myth where the son is killed inadvertently and where the true identities of the opposing parties are unknown to each other like the ancient Persian myth of Sohrab and Rustum. The nature of the long-term relationship between parent and child is a combination of a host of diverse factors, of hopes and fears, of joy and sacrifice, of development and disappointment.