Dissertationen zum Thema „Oedipus“

Thesis advisor: Patrick H. Byrne<br>My first aim in this dissertation is to elucidate Sophocles’ Oedipus Tyrannus through the writings of Bernard Lonergan, SJ. My second aim is to elucidate Lonergan’s thought by adducing it, in action, in Oedipus Tyrannus. Instead of analyzing what a classical text means to its own time and place, I undertake a philosophy of classics, exploring various philosophical problems by using Sophoclean texts. The paper incidentally discloses an interpretation of Oedipus Tyrannus that is at odds with some of the leading authors in the secondary literature while remaining consonant with others. I use Woodruff and Meineck’s 2003 translation of Theban Plays throughout because I find the translation refreshing. It is my hope that this paper, like all good papers, raises more questions than answers. In Chapter 1, I recruit Lonergan’s three basic observations about human knowing to explain Oedipus’ cognitive journey over the course of the play. First, Lonergan notes that underpinning all human knowing is the spirit of inquiry; the pure, unrestricted desire to know, which Lonergan calls “the supreme heuristic notion.” Second, he observes that the structure of human knowing is invariant. No matter who you are – mathematician, scientist, commonsense knower, etc. – all human knowing follows a dynamic but invariant structure Lonergan calls the “self-correcting cycle of learning.” This cycle moves from inquiry to insight to judgment to decision. Third, this invariant, self-correcting cycle, underpinned by the pure unrestricted desire to know, operates within dynamically shifting patterns of consciousness, modes of human knowing, that are circumscribed by our concerns, expressed by the kinds of questions we ask. Human consciousness is “polymorphic.” Using these three points as touchstones, I elucidate the dynamism of Oedipus’ cognitional structure by tracing the self-correcting sequence of his 132 questions until he arrives at his famous insight, which is simultaneously a virtually unconditioned judgment, expressed by his cry: Oh! Oh! It all comes clear! Light, let me look at you one last time. I am exposed – born to forbidden parents, joined In forbidden marriage, I brought forbidden death (Lines 1181-1185). With the concrete situation known and understood with clarity (σαφής), Oedipus’ consciousness should now become sublated into the structure of ethical intentionality. This sublation occurs the moment an agent says, “Okay. I understand and know the situation. Now, what should I do?” Typically, an agent begins to ask questions of value, questions which, in Patrick H. Byrne’s words, intend “practical insights into possible courses of action.” The goal of questions for intelligence and questions for judgment is to grasp, respectively, understanding and a virtually unconditioned judgment of fact. Likewise, the goal of questions of value is to “grasp of virtually unconditioned value” until, ultimately, a judgment can be made about that value in a decision which implements the value in action. Instead of “ascending” into an “ethics of discernment,” however, Oedipus’ development remains arrested, in a static state of undistorted affectivity that makes moral conversion impossible. The play ends with Oedipus hovering in a liminal state, somewhere between Lonergan’s rational consciousness and rational self-consciousness. This liminal position of distorted affectivity lends credence to Marina McCoy’s claim that, “Sophocles does not reject the rational in favor of a tragic vision that is anti-rational or non-rational; rather, the rational itself includes an affective element.” In Chapter 2, I point out the various “interferences” in the dynamic, self-correcting sequence which I argue imbues Oedipus’ journey with its especially tragic and ironic dimension. I argue that the tragedy (and irony) of the play pivot on the “polymorphism” of Oedipus’ consciousness. A corollary to this argument is that we may understand some of the muddled thinking and the bitter intersubjective quarrels in the play – including but not limited to Oedipus v. Tiresias, Oedipus v. Creon and Oedipus v. Jocasta – through the prism of Lonergan’s discussion of “bias.” My discussion of bias naturally leads to an interpretation of the play that finds Sophocles indicting, not wisdom per se, as Nietzsche argued, but those who fail to understand what it means to correctly understand; those, in other words, who would deign to reduce understanding to a simple matter of “taking a look,” to use Lonergan’s phrase. I argue that the symbolism in the drama staunchly affirms Lonergan’s well-known claim that, “What is obvious in knowing is, indeed, looking. Compared to looking, insight is obscure, and the grasp of the unconditioned is doubly obscure. But empiricism amounts to the assumption that what is obvious in knowing is what knowing obviously is.” In Chapter 3, I enlarge the focus of my analysis from Oedipus’ single consciousness to the milieu in which that consciousness operates – Corinth, Thebes and, finally, Colonus. Viewed through a prism of Lonergan’s social theory, Thebes, and to a lesser extent Corinth, become exempla of “cities in decline,” symbolized generally by their hostility to questioning which, specifically, allows various biases to reign. I discuss the Greek concept of pollution, beginning with the familiar distinction between agos and miasma, and suggest that we may treat the idea of pollution in Oedipus Tyrannus as a metaphor for what Lonergan’s called the “long cycle of decline” and its root cause, “general bias,” the unprincipled privileging of the immediate and concrete over that which is non-present. The byproduct of this bias is “the social surd.” In an essay entitled, “The Absence of God in Modern Culture,” Lonergan notes, in cultures exists the “disastrous possibility of a conflict between human living as it can be lived and human living as a cultural superstructure dictates it should be lived.” I argue that there many junctures in the play in which the failure of insight and the triumph of oversight is compounded by if not caused by the dictates of Theban and Corinthian cultures, starting with Laius and Jocasta’s decision to murder their child, a choice which is then echoed by Polybus and Merope’s choice to suppress the truth of their son’s origin. I then point out that the most obvious operative bias here is group bias, symbolized by various characters’ commitment to violent patriarchy which neglects female voices of reason. I show, following McCoy and Christopher Long, that Colonus, courtesy of Theseus’ leadership, represents a possible antidote to this group bias through healing love. As Oedipus says of the space of Colonus in 1125, “In all my wanderings, this is the only place/Where I have found truth, honor and justice./I am well aware of how much I stand in your debt,/Without your help I would have nothing at all.” For Lonergan, if the mischief of bias is to be conquered, the ultimate ground for that conquering will come from a liberation outside the agent’s own native resources. Colonus gives us a glimpse of this third mode of self-transcendence, religious conversion, which, for Lonergan, is an unrestricted being in love with a “mysterious, uncomprehended God.” On the one hand, this viewpoint would seem to represent a juncture at which Lonergan’s thought simply does not and cannot apply to a classical text, such as Oedipus Tyrannus or Oedipus at Colonus. Lonergan’s notion of unrestricted being in love (with God) and his further distinctions of operative and cooperative grace would seem to be anachronistic. And yet, Lonergan claims that unrestricted being in love is “interpreted differently in the context of different religious traditions.” I argue that there is a sense in which Theseus’ almost otherworldly commitment to reverence (aidos) for the sacred space of Colonus, and his compassionate commitment to care for the stranger (xenia), more closely approximates or, at the very least, anticipates the almost supernatural dynamism of the authentic moral conversion Lonergan seems to have in mind. There are moments, in other words, in which Theseus relies on the dynamism of his own native intelligence and others in which something beyond him seems to be at work, as if a precursor to the supernatural moral disposition of the father in Luke’s “Parable of the Prodigal Son.” I conclude this chapter by noting that implicit in my argument is the premise that Oedipus Tyrannus cannot be read without adverting to Oedipus Colonus, without which the full sweep of the conquering of bias cannot be appreciated. From this premise I then deduce that the pessimistic Nietzschean reading of Oedipus Tyrannus, at the very least, requires more context. And while it is certainly possible to read Tyrannus separately from Colonus, insofar as they are not part of a traditional cycle, including Colonus in an analysis of Tyrannus discloses a further development in Sophocles’ thought that we may use to retroactively assess Tyrannus philosophically, especially vis-à-vis nihilism. Chapter 4 is devoted to a discussion of Lonergan’s metaphysics of human freedom and its relation to willingness, moral impotence and liberation. Here I apply Lonergan’s rich and complicated discussion of human freedom in Insight to offer a viewpoint that is contrary to deterministic readings of the play. In Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge, Charles Segal advises us that to offer any fresh approach to Oedipus Tyrannus one must “remove a few layers of misconception.” Segal’s first misconception is this: “This is not a play about free will versus determinism.” He adds that “the issues of destiny, predetermination, and foreknowledge are raised as problems, not as dogma.” I will suggest here that if this assessment is accurate, the unintended irony of the play is that it nevertheless affirms a principle (dogma?) in spite of itself: that human freedom is enlarged by human intelligence, insofar as intelligence specifies, via practical insights and practical judgments of facts and values, a range of choices for the will to select. It follows that ignorance, bias and moral impotence, in blocking or shrinking this range of choices, limit our effective freedom to the point at which we are incapable of fully actualizing our essential freedom. Here I recruit Lonergan’s provocative image of the “surrounding penumbra” to describe “moral impotence,” in which he says, “Further, these areas are not fixed; as he develops, the penumbra penetrates into the shadow and the luminous area into the penumbra while, inversely, moral decline is a contraction of the luminous area and of the penumbra.” This image is particularly apt in describing the ways in which Oedipus enlarges the “luminous area” when he is authentically questioning, only to watch it contract into darkness when he is not – an equation symbolized by the Sophoclean trope of blindness. Finally, in an “Epilogue,” I conclude with some observations about the way in which Sophocles is often presented in undergraduate philosophy classes. I concur with Yoram Hazony who writes, in The Philosophy of Hebrew Scripture, “I do not believe the dichotomy between faith and reason is very helpful in understanding the diversity of human intellectual orientations.” Likewise, it is unclear to me as to whether couching Athens as somehow opposed to Jerusalem is good pedagogical practice. In a similar mode, equally unclear to me is whether couching Sophocles as somehow opposed to Socrates, Plato and Aristotle is good practice. Yes, contradistinction has its pedagogical merits, but it can also wash away nuance. I then suggest, by way of a conclusion, that if we must have a dichotomy, a better alternative, even pedagogically speaking, may be to use Lonergan’s dichotomy of the friendly or unfriendly universe. For ultimately, we are faced with one existential question: is our universe a friendly one? In Method in Theology, Lonergan asks, poignantly: "Is moral enterprise consonant with this world?...is the universe on our side, or are we just gamblers and, if we are gamblers, are we not perhaps fools, individually struggling for authenticity and collectively endeavoring to snatch progress from the ever mounting welter of decline? The questions arise and, clearly, our attitudes and our resoluteness may be profoundly affected by the answers. Does there or does there not necessarily exists a transcendent, intelligent ground of the universe? Is that ground or are we the primary instance of moral consciousness? Are cosmogenesis, biological evolution, historical process basically cognate to us as moral beings or are they different and so alien to us?" The phrase “friendly universe” comes a bit later in the text, when Lonergan adds, “Faith places human efforts in a friendly universe; it reveals an ultimate significance in human achievement; it strengthens new undertakings with confidence” (117, my italics). Notice the connection Lonergan adduces between religious conversion, or the unrestricted being in love with God, as the ground of the friendly universe. And yet, as I mentioned earlier, this unrestricted being in love is, as Lonergan points out, “interpreted differently in the context of different religious traditions.” After all, Socrates was no Christian; but he did believe the universe was friendly. In this context, I argue that Sophocles ought to be aligned with Socrates, Plato and Aristotle, not to mention most Biblical texts, against the truly opposed counter-position, “nihilism.” While it is certainly true that, in Oedipus, Sophocles heard that “eternal note of sadness on the Aegean,” as Matthew Arnold once wrote, Sophocles also seems to have heard in Colonus a note of compassion and wisdom and love and the hope for a construction of a community in which human striving is not in vain. As Oedipus tells his daughters, But there is one small word that can soothe – And that is ‘love.’ I loved you more than Anyone else could ever love, but now Your lives must go on without me. (1610-1619)<br>Thesis (PhD) — Boston College, 2018<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Philosophy

Cette étude se propose de dégager la nature mythique de la musique, ceci à travers l'exemple précis d'une œuvre, Oedipus-Rex de Stravinsky. En nous inspirant du modèle formel de l'œuvre pour construire notre travail et en nous aidant du mythe d'Œdipe pour réfléchir au procès de la connaissance, nous avons entrepris une enquête sémantique subjective qui procède à trois niveaux : un niveau analytique qui envisage l'opéra-oratorio à partir d'une vision contradictoire, celle du rite et celle du drame; un niveau exégétique qui intègre l'œuvre dans une double lecture, celle du compositeur et celle de l'auditeur; enfin un niveau théorique qui tente de définir ce que peut être une recherche sur le mythe et la musique. Considérant qu'Oedipus-Rex constitue une version du mythe d'Œdipe, c'est-à-dire une réalisation exprimant les interrogations d'une culture spécifique, nous l'envisageons donc avec ses propres critères, à savoir d'un point de vue esthétique et en fonction de la problématique de l'opéra, celle de la représentation humaine. A l'issue de cette entreprise, il apparait que la force mythique d'Oedipus-Rex est de proposer un schéma à la fois binaire et ambigu qui permette à l'œuvre de catalyser ce matériel symbolique collectif que constitue le mythique<br>The purpose of this study is to emphasize the mythical dimension of music, using as a particular instance one of Stravinsky’s works, namely Oedipus-rex. By using the formal structure of the piece to organize our research and by making use of the myth of Oedipus to reflect on the process of knowledge, we undertook a subjective semantic enquiry going on to three different levels. The analytical level considers the opera-cum-oratorio from a contradictory viewpoint taking in both ritual and drama. The exegetic level integrates the work in a double-sided reading, that of the composer and that of the listener. Finally, the theoretical level attempts to define what could be a research on myth and music. Considering that Oedipus-rex is one version of the myth of Oedipus, i. E. A product expressing the questioning of a specific culture, we consider it in the light of its own criteria. This implies having an aesthetic stand and looking into the problematic of the opera, as a human representation. At the end of our quest, it seems that the strength of Oedipus-rex as a myth is to offer both a binary and ambiguous scheme which enables the work to crystalize the collective and symbolic material of which myths are made of

Esta dissertação visa demonstrar que as didascálias caracterizam-se como um dos recursos cênicos presentes na poesia dramática antiga, tendo como objeto de análise a Obra Oedipus de Sêneca. A partir de um pequeno panorama acerca de Sêneca e sua obra com ênfase na poesia dramática, apresentamos um referencial teórico antigo e contemporâneo sobre a poesia dramática de Sêneca, com ênfase no conceito de didascálias e, por fim, a partir do conceito apresentado, identificamos e analisamos as didascálias no Oedipus de Sêneca. Esperamos, com este estudo, abrir novas vias para pesquisas acerca da poesia dramática latina e suas possibilidades de representação.

There is a vast amount of scholarly work devoted to Oedipus Tyrannus and Oedipus at Colonus. However, the number of studies relating these plays to Hippocratic medical thought is small and, in the case of OC, almost non-existent. Bernard Knox???s study Oedipus at Thebes (1957) constitutes the most direct approach to medical thought in OT. He describes how Oedipus shifts between being a physician, a patient, and ultimately, a disease at different stages of the play (1957: 139-147). Knox supports these role shifts by comparing some of the vocabulary of selected passages in the tragedy with their occurrence in the medical writings of the Hippocratic Corpus. The approach I propose in this study is to account for these role shifts from the standpoint of the doctor-patient relationship as described in different writings of the Hippocratic Corpus. I will focus on how the elements of the doctor-patient relationship (i.e., disease, patient, and physician) are represented and the reconfigurations they undergo in the plays. In the first chapter, I will examine how the doctor-patient relationship was viewed among the authors of the medical writings. In addition, I will examine Sophocles??? involvement in the cult of Asclepius in order to determine how this aspect of his life might have influenced his work. In the second chapter I will analyze how the doctor-patient relationship fluctuates in OT. I will use as reference the set of guidelines established in the first chapter regarding the notion of the doctor-patient relationship. In the third chapter, I will suggest that OC provides two complementary approaches to account for the doctor-patient relationship: the Hippocratic model and a new metaphor in which Oedipus stands for a healing god. The medical imagery of the doctor-patient relationship found in OT and OC indicates that Sophocles was well aware of the medical practices of his time. Furthermore, I will suggest that his involvement in the cult of Asclepius is reflected in the metaphor of Oedipus as a healing god at the end of OC.

Between 1900 and 1970 seven different versions of Sophocles’ play Oedipus Tyrannos were performed or published in Arabic in Egypt. This thesis looks at the first 71 years’ history of this iconic Greek tragedy in Arabic and the ways it can be used to think through the cultural debates of the period. The long history of contact between Greece and Egypt and the 19th and 20th century interpretations of this history can be used to look at different models of colonial and post-colonial cultural interaction. Classicism offered Egyptian writers a constructive way of looking at their cultural identity and contemporary world – a way which takes in to account the legacies of colonialism but also engages Greek literature to create their own models of nationhood. Following the history of performance and adaptation of the play throughout the 20th century, this thesis offers close readings of the most prominent adaptations of Oedipus, particularly those of Farah Antun (whose text was used for Actor-Director George Abyad’s first version of the play in 1912), Tawfiq al-Hakim (1949), Ali Ahmed Bakathir (1949) and Ali Salem (1970). Using performance and translation theory, I show how performance of translated plays like Oedipus was a crucial but complex part of the formation of an Egyptian dramatic tradition through the dynamic interaction of diverse views of what the theatre should be, using, for instance, the role of singing in turn of the century drama. This thesis also revisits and revises misconceptions about the relationship between Islam and theatre. In addition to examining Egyptian Oedipus’ 19th and 20th century context, I also stress the contribution of performance and adaptation to readings of the original text. In particular, these versions of Oedipus ask questions about monarchical rule and democracy that form one link between this classical play and 20th century Egypt. Through its interdisciplinary approach as well as the close readings it offers, this thesis aims to make valuable contributions to the fields of Arabic Theatre Studies and Classical Reception in Colonial and Post-Colonial contexts as well as Performance and Translation Theory.

Thesis (MA)--Stellenbosch University, 2011.<br>ENGLISH ABSTRACT: “Freud, Lacan, and the Oedipus Complex” examines the Oedipus complex as found in the writing of Sigmund Freud and re-evaluated in the works of Jacques Lacan. Lacan‟s critical reappraisal of the Oedipus complex is captured in his 1969-1971 Seminars, published as The Other Side of Psychoanalysis(2007). This thesis examines Freud‟s overemphasis of the Oedipus complex, the myth of the primal horde and the consequent depiction of the father. Lacan doesn‟t dismiss the Oedipus complex completely, but treats it as a dream, and reinterprets it in light of Freud‟s The Interpretation of Dreams (1900). Lacan focuses on Freud‟s overemphasis on the father in both the Oedipus complex and the myth of the primal horde and illustrates how Freud is protecting the image of the father by depicting him as strong, whereas clinical experience shows that the father can be weak and fallible.<br>AFRIKAANSE OPSOMMING: “Freud, Lacan, and the Oedipus Complex” ondersoek die Oedipus kompleks, soos beskryf in die werk van Sigmund Freud en die beskrywing daarvan in die werk van Jacques Lacan. Lacan se kritiese herevaluasie van die Oedipus kompleks verskyn in sy 1969-1971 Seminare, gepubliseer as The Other Side of Psychoanalysis(2007). Die tesis studeer Freud se oorbeklemtoning van die Oedipus kompleks, die oer-miete en die rol van die vader, ten spyte van die ongerymdhede en kliniese tekortkominge in sy uitbeelding van die vader-figuur. Lacan verwerp nie die Oedipus kompleks ten volle nie, maar kontekstualiseer dit in terme van ʼn droom en herinterpreteer dit in lig van Freud se The Interpretation of Dreams (1900). Lacan fokus op Freud se oorbeklemtoning van die vader in beide die Oedipus kompleks en die oer-miete en illustreer hoe Freud die beeld van die vader probeer beskerm deur hom as sterk uit te beeld, veral wanneer kliniese ervaring wys dat die vader swak en feilbaar is.

Chapter One of this thesis explores the identity of the Eumenides, the resident deities in Sophocles' Oedipus at Colonus. By examining the language and contents of two important ritual acts in the play, it is proven that their title is euphemistic; these goddesses are the transformed Erinyes of Aeschylus.<br>Oedipus and his sinfulness is the focus of Chapter Two. Although he has committed the heinous crimes of incest and parricide, Oedipus seems to be exempt from the Erinyes' hounding. By reviewing the charges laid against him, it is revealed that Oedipus is a morally innocent man.<br>The final chapter deals with Oedipus' apotheosis and the role played by the Eumenides. By examining the play's dramatic action, it is demonstrated that Oedipus, a man of innate heroic nature, is deserving of heroization. But to reach his exalted end, the championship of the Eumenides is required.

This thesis is a synchronic reception study of a single play, the Oedipus at Colonus. Rather than providing a commentary, or extracting one or two themes in isolation for examination, it considers the play through the lens of the eighteenth century. In so doing it offers a variety of disciplinary approaches, looking at the QC through the eyes of an aesthetic philosopher, creative writer, textual critic, artist, politician, historian, art historian, composer, musicologist, teacher or clergyman. After an introduction outlining some basic presuppositions for the thesis, chapter 1 covers aesthetic philosophy, chapter 2 books, chapter 3 staged reworking, chapter 4 paintings and chapter 5 opera. In reflecting on the play from such a broad range of perspectives, a range of insights emerge. The major theme is the way in which aesthetics develops over time and how these developments are reflected in the wide range of material under discussion. This thesis is about the sublime. Reading the DC through eighteenth-century eyes prioritises certain aspects of it which can, in various guises and at various times, be understood as sublime. This places great emphasis on themes such as religion and the role of landscape, while diminishing others, such as that of blindness, which might usually seem obvious ways to think about the play. Each act of reception draws out something slightly different from the Greek model, and by examining a range of material, our overall appreciation of the play and the eighteenth century is significantly enhanced, particularly in respect to the aforementioned themes.

This project investigates historical changes in urban phenomena. It questions how cities are made manifest through experience. To this end the research is concerned with styles of appearing that have been shown by way of foot. In questioning how cities, motility and senses of self intersect historically, it develops what is termed an onto-peripatetics that traces the genealogy of self-conscious walking - specifically forms of pedestrianism that have entered into writing. It seeks to identify a deeper temporal substratum to the now routine association of walking and writing in romanticism and nineteenth century urban accounts. The project tracks via the Cartesian and Kantian cogitos a particular disjunction between self and world that has occasioned a synthesising drive exemplified by travel, observation and written reflection. If in this synthesis a particular cognitive bias has prevailed over bodies, the research aims to think into this hiatus itself, seeking to unearth the genealogy and the productivity - politically, socially, philosophically – sustaining it. The presumption pursued in the project has been twofold: firstly that this hiatus belongs to an enduring or rather reduplicating figure – Oedipus; and secondly, that both the hiatus and its namesake are integrally tied with Occidental urban life. What is termed an Oedipal vector – traversing myth, tragedy, aesthetics, psychoanalysis, and what Gilles Deleuze and Felix Guattari termed schizoanalysis – is read against an array of literary and philosophical texts addressing urban space. Ranging from Plato, in whom is found a metaphysical walk, to an idiorrhythmy (Barthes 2013) crafted by Rimbaud in his encounter with Victorian London, the project aims to account for a disjunctive synthesis (Deleuze & Guattari, 2000) unfolded in urban place-accounts historically.

Extrait de: Habilitationsschrift--Geisteswissenschaftliche Fakultät--Innsbruck--Universität, 1986.<br>Contient l'"Oedipe" de Sénèque en latin, avec trad. allemande en regard. Bibliogr. p. 641-652. Index.

The present thesis considers the function of law in the political from the perspective of psychoanalysis, a discipline which foregrounds the subject. Drawing from the Lacanian contributions to psychoanalytic theory, I begin by assessing the validity of the Oedipal hypothesis for the purposes of understanding the dynamics of collective life. My analysis of civilisation in psychoanalytic terms will expose the subject as the seat of 'certain key phenomena which, despite their deeply intimate character, play themselves out in the field of law, in the confines of the institution, or again in the political realm: essentially, culpability, belief and love. I will argue that, although these phenomena irretrievably obstruct the rational unfolding of discourse, they also impel the precipitation of the subject's attachment to the political, and permit the consolidation thereof through the medium of transference. Yet, and in contradistinction to other strands of psychoanalytic jurisprudence, in this work psychoanalysis will be used neither as an hermeneutic tool nor as an analogical model. Indeed, my purpose is to evidence the existence of a certain continuity between the unconscious as discourse and the political order. This continuity between the unconscious and the political will be presented in terms of the logic of exception, which structures the subject's relation to language, and which Lacan identified as the structural core of the Oedipus complex. I will then apply Lacan's hypothesis of the exceptional structure of discourse to the theories of three political thinkers, chosen for the distinctness of their approach: Legendre, Bentham and Foucault. Finally, I will argue for the dispensability of the function of the Ideal, parasitic occupier of what should remain the structurally `empty' place of exception.

Aristotle’s Poetics locates the core of tragedy in the failure of human action: the notion of hamartia is the causal element leading to the protagonist’s downfall. The ideal tragic character, neither pre-eminently good nor bad, must arouse pity and fear by falling into adversity through a hamartia, that is the hinge of a good plot. And the best tragic plot, according to Aristotle, is Sophocles’ Oedipus Tyrannus. However, the notion of hamartia is the subject of a still-unresolved scholarly debate, since its semantic field is ambiguous and covers a wide range of nuance: “error of judgement”, “character flaw”, “moral fault”. The interpretation of Oedipus’ hamartia played a crucial role in the Renaissance debate. The major difficulty was the attempt of reconciling hamartia with Christianity: its indeterminacy, implying that human agency can never be entirely autonomous, is not acceptable from the point of view of Christian free will. Renaissance scholars interpreted the term by showing a growing notion of moral responsibility and using different lexical variants, such as error/peccatum, errore/peccato, erreur/faute/péché, error/frailty/flaw. Moreover, they often refer to the discussion of voluntary and involuntary actions from the Nicomachean Ethics, or to the notion of Aristotelian akrasia. Hence, between the sixteenth and the seventeenth century, the theory of tragedy and the rewritings of Oedipus’ myth influence each other, thus giving birth to a debate on tragic hero’s moral responsibility and involving theological and philosophical issues, such as free will, determinism, predestination, Providence. The present dissertation discusses the sixteenth- and seventeenth-century reception of hamartia by analysing the theory and the practice of tragedy in Italy, France, and England. After a preliminary chapter discussing the debate in Antiquity, the following chapters explore the hamartia throughout Latin and vernacular translations of and commentaries on Aristotle’s Poetics, the dramatic treatises, and the reception of Sophocles’ Oedipus Tyrannus.

The Western contemporary notion of the secular family seems to be supported by the following contradictory premises: on the one hand, the nuclear family is supposed to be based on love (between husband and wife; between parents and children) that is expected to last ‘till death do us part'. On the other hand, what ought to last – in the relation between a restricted set of love objects – is also known to be an elusive and uncontrollable affect(ion), that seems to arise 'out of nowhere', and to disappear as quickly. Further, the popular understanding of a loving relation goes hand in hand with a supporting injunction to possess an object of love, which finds its ideological support in the contemporary ethos of Capital's relations of production/reproduction, particularly in the notion of private property. Several consequences ensue from these contradictions. Firstly, love gets compromised by fixing it on an extremely restricted set of chosen members and becomes something one needs to 'work at' (in case it 'fails') instead of a spontaneously arising force. It eventually becomes a 'promise' that is meant always to fail; however, it generates a whole spectrum of industries that successfully cash in on the idea of love, by selling love in what looks to be an unlimited variety of commodity forms (products, service, affective services, etc.). Secondly, the notion of love that is meant to correspond to a possession of its object is a product as well as producer. This notion of... [to full text]<br>Šiuolaikinė dominuojanti Vakarų šeimos samprata yra grindžiama darant prieštaringas prielaidas. Iš vienos pusės, 'branduolinė šeima' turėtų būti paremta meile grįstais santykiais tarp žmonos ir vyro ir tarp vaikų ir tėvų - iš kurių yra tikimasi kad ji (meilė) turi tęstis iki 'kol mirtis išskirs'. Iš kitos pusės, ko yra reikalaujama ilgalaikio tęstinumo - tarp apribotų santykių su išskirtiniais (leistinais) meilės objektais – yra afekto, kuris pasižymi nenuspėjamumu, praeinamumu ir nepasidavimu racionaliai kontrolei. Ji (meilė) - kaip liaudies išmintis patvirtintų - kaip greitai ir nenuspėjamai 'ateina' taip pat greitai ir nenuspėjamai 'išeina'. Be to, populiarus meilės supratimas yra palaikomas papildoma reakcine geismo forma - pasisavinti, 'privatizuoti' meilės objektą, – atrandanti atgarsį ir palaikimą, šiuolaikinių kapitalistinių santykių, grindžiamų privačia nuosavybę, etose. Šie šeimos koncepto prieštaravimai turi bent kelias svarbias pasekmes. Visų pirmą, meilė yra sukompromituojama nurodant konkrečius ir simboliškai griežtai apribotus šeimos subjektus kuriuos yra leistina 'mylėti' ir tapatintis. Nepatenkinant šio meilės reikalavimo, 'meilės' pora yra skatinama 'dirbti' su savo santykiais , tikintis jog meilė gali būti produkuota, o ne kylanti iš spontaniško afekto. Galiausiai, meilės sąvoka tampa 'pažadu', kuris yra pasmerktas būti pastoviai neįgyvendinamas, bet kuris, tuo pačiu sukuria nišą visam spektrui kapitalistinių industrijų kurti pridėtinę vertę... [toliau žr. visą tekstą]

<p>In this essay I argue that the plot in Sunrise with Sea Monster, written by Irish writer Neil Jordan, is based on the Oedipal myth, such as interpreted by Freud and psychoanalyst literary theory. By applying aspects of this theory we discover meanings buried within the novel. The Oedipus situation arises when the main character Donal falls in love with his piano teacher Rose, but so does his father, who decides to marry her. The desire both men have for the same woman creates a conflict of interest, as well as leading to a series of betrayals, of which the worst and ultimate one is of the father, Sam, by the son, Donal. The situation is not helped further by the lack of communication which exists between the two men. When the Oedipal stage is overcome, when both Rose and Sam are out of the picture, this leads to a sort of reconciliation between Sam and Donal. Betrayal and reconciliation are the two main themes and these are governed by the Oedipal framework of the novel. I also argue that the imagery, in particular that of water and what it is connected to adds depth to the novel as well as closely relating to the main themes and the Oedipal background: the diverse aspects of the Oedipal conflict are expressed symbolically, metaphorically etc. in the novel.</p>

The dissertation presents a detailed investigation of Sophocles' Oedipus and Shakespeare's Hamlet in the context of Freud's comparison of the plays, sketched out in a number of his early writings (most notably The Interpretation of Dreams) but never pursued at length either by him or by any later critics. The interest of the current investigation is not inspired simply by the absence of such a detailed comparison, on the one hand, and by its constant implication in the modem analysis of the plays in question, on the other. The particular inspiration for the current project is the work of Jean Laplanche that in the last forty years has been dedicated to a fundamental reconceptualisation of Freud's theory of the human subject by way of return to the questions of the seduction and otherness. Equally inspiring for the current project have been the recent developments in the non-psychoanalytic analyses of tragedy (ancient Greek, Elizabethan, and as genre as such) that consistently aspire to cross the boundaries of the traditional textual-historicist approach to the literary text in order to accommodate the particularly heterogeneous nature of their object of study. Thus, the current project provides a comprehensive analysis of Sophocles' Oedipus and Shakespeare's Hamlet, successively, at the intersection of psychoanalytic and other (philological and philosophical) approaches to tragedy, paying attention not only to the texts of the tragedies themselves but to the narrative-mythological, dramatic, and, in the case of Sophocles, translational tradition to which they pertain. The relevance of Freudian categories to the texts and genre in question is thus thoroughly examined. As a result, the conclusion is reached that it is specifically through Laplanchean reconceptualisation of Freud's notion of seduction (and the related notions of the enigmatic message, the other, translation and transference) that a psychoanalytic approach becomes more amenable to the needs of literary analysis. The application of Laplanchean categories to the analysis of these tragedies helps to elucidate the role of the father with new precision (in comparison with the previous mother-centred approaches to these tragedies). In its main body, the dissertation consists of a general Introduction, analytical sections on Sophocles' Oedipus and Shakespeare's Hamlet, Conclusion, and the list of the consulted works.

Thesis (Ph. D.)--Stanford University, 2004.<br>Submitted to the Department of History. Copyright by the author. Description based on web page; title from title screen (viewed 1 September 2005). Includes bibliographical references.

Without pretensions to exhaustiveness, this study briefly examines the mid- to late-twentieth-century flowering of western theory and criticism built around autobiographical writing and follows the feminist branch(es) of that theory and criticism through a reading of the following four memoirs: Autobiography of a Face by Lucy Grealy, All the Lost Girls by Patricia Foster, Lying by Lauren Slater, and Prozac Nation by Elizabeth Wurtzel. Using both Freudian and Lacanian psychoanalytic theory as they relate to literature, I argue that the selves these four women write in their memoirs are not selves built around the model historically set for women by feminist criticism of autobiography. Instead, Grealy, Foster, Slater, and Wurtzel, each raised by a relatively ineffectual or absent father and a strong-willed mother, fashion autonomous Lacanian 'I's for themselves out of relationships with their mothers that more closely resemble the adversarial relationship Freud posited between fathers and sons than they do the communal and less autonomy-engendering mother-daughter relationships many feminist critics predict.

Thesis (M.F.A.)--University of New Orleans, 2004.<br>Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications."--Thesis t.p. Vita. Includes bibliographical references.

Submitted by Cintia Martins Sanches (cintia.martins.br@gmail.com) on 2017-07-17T03:37:24Z No. of bitstreams: 1 TESE PDF BIBLIOTECA.pdf: 29930335 bytes, checksum: 764ec89ec8ce65c8c5ad997e3e124ade (MD5)<br>Rejected by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: Incluir o número do processo de financiamento Fapesp nos agradecimentos da dissertação/tese. O arquivo submetido está sem a página de rosto. A ficha catalográfica deve ser inserida na página seguinte a página de rosto e anterior a folha de aprovação. A versão final da dissertação/tese deve ser submetida no formato PDF (Portable Document Format) e o arquivo não deve estar protegido. Corrija estas informações e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2017-07-17T12:55:33Z (GMT)<br>Submitted by Cintia Martins Sanches (cintia.martins.br@gmail.com) on 2017-07-17T15:39:36Z No. of bitstreams: 2 tese biblioeca ok ok.pdf: 30034042 bytes, checksum: 4d02948bfb1beb968c111d6646b17aa6 (MD5) tese biblioeca ok ok.pdf: 30034042 bytes, checksum: 4d02948bfb1beb968c111d6646b17aa6 (MD5)<br>Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-07-17T19:20:10Z (GMT) No. of bitstreams: 1 sanches_cm_dr_arafcl.pdf: 30034042 bytes, checksum: 4d02948bfb1beb968c111d6646b17aa6 (MD5)<br>Made available in DSpace on 2017-07-17T19:20:10Z (GMT). No. of bitstreams: 1 sanches_cm_dr_arafcl.pdf: 30034042 bytes, checksum: 4d02948bfb1beb968c111d6646b17aa6 (MD5) Previous issue date: 2017-05-25<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>O presente trabalho tem como objeto as tragédias Oedipus e Phoenissae, escritas em meados do século I d.C. pelo autor latino Lucius Annaeus Seneca (4 a.C.? – 65 d.C.). Consiste em um estudo crítico sobre a tessitura poética do texto latino por meio da proposta de uma tradução expressiva em português para esses dois dramas. Em outras palavras, este trabalho pretende investigar e descrever o idioma estilístico de Sêneca no córpus a fim de ensaiar sua transposição para o português. Far-se-á: 1) uma análise dos textos latinos, 2) uma apreciação da tradução de Oedipus por Candido Lusitano e 3) uma tradução expressiva dos dois dramas. O objetivo é revelar traços fundamentais do idioma estilístico de Sêneca no córpus, bem como refletir sobre sua transposição para o português nas traduções propostas por esta autora e na tradução de Oedipus proposta por Candido Lusitano, no século XVIII. A tradução de Lusitano é a única tradução poética metrificada em português da tragédia Oedipus até o presente momento. Da tragédia Phoenissae, há apenas traduções em prosa. A escolha dessas duas tragédias se deu pelo fato de que, dentre os dramas senequianos, esses são os únicos que se centram no mito dos Labdácidas. Assim, é possível uma abordagem completa sobre o tratamento dado por Sêneca ao mito de Édipo. O conceito de idioma estilístico diz respeito à afinidade estilística necessária para que uma tradução possa ser equivalente ao texto de partida. As tragédias estudadas — poemas dramáticos que são — encerram um uso abundante e sofisticado de recursos expressivos, comumente classificados como figuras de linguagem, bem como por expedientes estilísticos presentes nos planos fônico, lexical, morfossintático e métrico. Este trabalho consiste em uma investigação de como se orquestram expressão e conteúdo no enunciado poético, oferecendo uma tradução expressiva ou, em outras palavras, procurando um equivalente desses recursos em português. Investiga-se também como Lusitano trabalhou a expressividade em sua tradução e como as traduções aqui propostas se enquadram nesse tratamento da expressividade.<br>This study has as object the tragedies Oedipus and Phoenissae, written in the middle of century I d.C. by the Latin author Lucius Annaeus Seneca (4 a.C. - 65 d.C.). It consists of a critical study on the expressiveness of the Latin text by means of the proposal of an expressive translation in Portuguese for these two dramas. In other words, this work intends to investigate and describe the stylistic language of Seneca in the corpus in order to rehearse his transposition into Portuguese. It will be done: 1) an analysis of the Latin texts, 2) an appreciation of the translation of Oedipus by Candido Lusitano, and 3) an expressive translation of such tragedies. In this wise, we aim at defining the main characteristics of stylistic idiom of Seneca in the corpus and reflecting on its transposition into Portuguese – in our translation of both tragedies and in Candido Lusitano’s translation of Oedipus (from 18th century). Lusitano’s version was the only poetic and metrified translation of Oedipus we had until this paper – all Phoenissae translation into Portuguese are in prose. Since such tragedies are the only ones that deal with the myth of Labdacids, we chose them. Thus, a complete approach is possible concerning how Seneca treated the myth of Oedipus. The concept of stylistic idiom concerns the stylistic affinity required for a translation to be equivalent to the source text. Both tragedies – as dramatic poems – contain an abundant and sophisticated use of expressive resources, commonly classified as figures of speech, as well as by the stylistic expedients present in the phonic, lexical, morphosyntactic and metrical planes. This work consists of an investigation of how to orchestrate expression and content in the poetic utterance, offering an expressive translation, or, in other words, looking for an equivalent of these resources in Portuguese. It is also investigated how Lusitano worked on the expressiveness in his translation and how the translations proposed here fit into this treatment of expressiveness.<br>FAPESP: 2013/12394-3<br>FAPESP: 2015/02125-0

<p> Mandible form in cotton-top tamarins (Saguinus oedipus) and common marmosets (Callithrix jacchus) provides insight into effects of dietary differences. Mandible shape is due to both genetic factors as well as environmental, with functional differences included in the environmental (Klingenberg and Leamy, 2001). Forces associated with differences in food acquisition can be expected to lead to morphological changes. Common marmosets (<i>Callithrix jacchus </i>) and cotton-top tamarins (<i>Saguinus oedipus</i>) have different feeding styles, and therefore, have different mandible and other craniofacial adaptations. Whether these taxa are wild-born or lab-born could also affect their mandible form. There is a lack of agreement whether there is sexual dimorphism between these two species, but this study indicates there is sexual dimorphism even after adjusting for size. Standardized lateral and superior views of mandible photographs of both species were analyzed at different mandibular regions and individual dimensions. Not only did it reveal intraspecific and interspecific sexual dimorphism, there is also a difference in mandible form whether a species is wild-born or lab-born. <i>S. oedipus</i> males and females are larger if born in the wild and <i>C. jacchus</i> are larger if born in the lab. This could have implications in the future on how lab-born monkeys are being cared for and fed to better mimic their natural habitat.</p><p>

Orientador: Brunno Vinicius Gonçalves Vieira<br>Banca: José Eduardo dos Santos Lohner<br>Banca: Luis Augusto Schmidt Totti<br>Banca: Cláudio Aquati<br>Banca: Márcio Thamos<br>Resumo: O presente trabalho tem como objeto as tragédias Oedipus e Phoenissae, escritas em meados do século I d.C. pelo autor latino Lucius Annaeus Seneca (4 a.C.? - 65 d.C.). Consiste em um estudo crítico sobre a tessitura poética do texto latino por meio da proposta de uma tradução expressiva em português para esses dois dramas. Em outras palavras, este trabalho pretende investigar e descrever o idioma estilístico de Sêneca no córpus a fim de ensaiar sua transposição para o português. Far-se-á: 1) uma análise dos textos latinos, 2) uma apreciação da tradução de Oedipus por Candido Lusitano e 3) uma tradução expressiva dos dois dramas. O objetivo é revelar traços fundamentais do idioma estilístico de Sêneca no córpus, bem como refletir sobre sua transposição para o português nas traduções propostas por esta autora e na tradução de Oedipus proposta por Candido Lusitano, no século XVIII. A tradução de Lusitano é a única tradução poética metrificada em português da tragédia Oedipus até o presente momento. Da tragédia Phoenissae, há apenas traduções em prosa. A escolha dessas duas tragédias se deu pelo fato de que, dentre os dramas senequianos, esses são os únicos que se centram no mito dos Labdácidas. Assim, é possível uma abordagem completa sobre o tratamento dado por Sêneca ao mito de Édipo. O conceito de idioma estilístico diz respeito à afinidade estilística necessária para que uma tradução possa ser equivalente ao texto de partida. As tragédias estudadas - poemas dramáticos que sã... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This study has as object the tragedies Oedipus and Phoenissae, written in the middle of century I d.C. by the Latin author Lucius Annaeus Seneca (4 a.C. - 65 d.C.). It consists of a critical study on the expressiveness of the Latin text by means of the proposal of an expressive translation in Portuguese for these two dramas. In other words, this work intends to investigate and describe the stylistic language of Seneca in the corpus in order to rehearse his transposition into Portuguese. It will be done: 1) an analysis of the Latin texts, 2) an appreciation of the translation of Oedipus by Candido Lusitano, and 3) an expressive translation of such tragedies. In this wise, we aim at defining the main characteristics of stylistic idiom of Seneca in the corpus and reflecting on its transposition into Portuguese - in our translation of both tragedies and in Candido Lusitano's translation of Oedipus (from 18th century). Lusitano's version was the only poetic and metrified translation of Oedipus we had until this paper - all Phoenissae translation into Portuguese are in prose. Since such tragedies are the only ones that deal with the myth of Labdacids, we chose them. Thus, a complete approach is possible concerning how Seneca treated the myth of Oedipus. The concept of stylistic idiom concerns the stylistic affinity required for a translation to be equivalent to the source text. Both tragedies - as dramatic poems - contain an abundant and sophisticated use of expressive resources, commonly classified as figures of speech, as well as by the stylistic expedients present in the phonic, lexical, morphosyntactic and metrical planes. This work consists of an investigation of how to orchestrate expression and content in the poetic utterance, offering an expressive translation, or, in other words... (Complete abstract electronic access below)<br>Doutor

La vision de la Grèce antique de Pasolini est une vision barbare parce que le cinéasterefuse toute idéalisation néoclassique. Une telle vision de l’antiquité était déjà répondue dans laculture européenne à travers les textes de Nietzsche. Pasolini est inspiré particulièrement pardeux disciplines auxquelles il se réfère souvent : l’anthropologie et la psychanalyse.A une thématique barbare correspond aussi, chez le cinéaste italien, un environnementbarbare, avec l’accord entre la forme de l’expression et la forme du contenu. Pasolini rejette lareconstitution archéologique : à la luminosité aveuglante du Maroc (où est tournée la partiemythique d’OEdipe roi), à l’architecture archaïque de pierre de la Cappadoce (la Colchide deMédée), aux remparts d’une ville syrienne d’Alep (Corinthe dans Médée), le cinéaste associe descostumes dans lesquels s’inscrivent de différentes cultures archaïques, et des musiquesprovenant pour la plupart des pays non-occidentaux (africaines, tibétaines, japonaises,roumaines).Avec la pratique de la contamination et du pastiche, Pasolini souhaite recréer le langageintemporel du mythe, le langage primaire dans lequel s’inscrit la civilisation paysanne. Cetterelation entre le mythe grec et le monde rural s’articule principalement autour de la notion decyclicité<br>Pasolini’s vision of ancient Greece is barbaric because the filmmaker refuses any neoclassicalidealization. This vision of antiquity was already famous in European culture through the textsof Nietzsche. Pasolini is particularly inspired by two disciplines he often refers to : anthropologyand psychoanalysis.The barbarian theme is also linked to a barbaric environment, with agreement between the formof expression and form of content. Pasolini rejects archaeological reconstruction. He combinesblinding brightness of Morocco (were the mythical part of the Oedipus Rex is turned), archaicarchitecture in stone of Cappadocia (Colchis in Medea), and the ramparts of a Syrian city Aleppo(Corinth in Medea) with costumes from different archaic cultures and music mostly from non-Western countries (African, Tibetan, Japanese, Romanian).With the practice of contamination and pastiche, Pasolini wants to recreate the timelesslanguage of myth, the primary language of the peasant civilization. The relationship between theGreek myth and the rural world revolves mainly around the notion of cyclicity

A Mother and Son Khilim records some of the images and myths from 22000 BCE to the present which locate the Oedipus myth in a history that makes sense of my emotional and intellectual responses to it. This chapter includes summarises of the story and its forbears which the reader will need to hold in mind through the later chapters of the thesis. A Sampler - Hypotheses, Questions, Themes introduces the main arguments as well as a summary of my conclusions from the inquiry, and some poetry and other writing which is intended to establish an atmosphere for the work. Oedipal Kings: Abandoned Boys and the Patriarchal Pattern provides an analysis of Sophocles' King Oedipus in support of my hypothesis that he is the mythic father of patriachal social structures and, therefore, that his life story might be viewed as a template for the formation of new patriachs. The chapter also includes a study of some contemporary eminent men in which I focus on the way early experiences of abandonment typically affect their adult behaviours. Silent Women presents Queen Jocasta as archetypal disempowered mother/ wife along with four contemporary women. The true self of each of the contemporary women was mute for many years as a result of negative or absent paternal experiences during adolescence. The Social Ecology of Mythic Thebes: A Study of Fate and Destiny in Patriarchal Culture extrapolates Jung's ideas about causality and teleology in individuals to the cultural setting of Oedipus's city state. The chapter concludes by contrasting the continuing disaster in Thebes with Oedipus's achievement of individuation. Resounding the silence is the title of the cycle of songs I wrote. This section includes the lyrics of all the songs.<br>Master of Science (Hons) (Social Ecology)

Dissertação de Mestrado em Psicologia Clínica, apresentada ao ISPA - Instituto Universitário<br>Na nossa sociedade, a família é o lugar privilegiado de construção do eu, masculino ou feminino. A criança nasce com um sexo biológico e através da sociedade, da cultura e da família onde está inserida vai desenvolvendo o seu género sexual (Kimmel, 200; Stets & Burke, 2000). Um referencial teórico importante para tal, é a psicanálise, pois no momento em que tem como uma das suas maiores preocupações a compreensão da construção do sujeito, a identidade de género torna-se assim central, pelo fato de permitir uma interpretação, dinâmica da construção dos sujeitos sexuados. No presente estudo de caso, de carácter qualitativo, procurou-se compreender e viabilizar através da apreciação do processo-resposta Rorschach, o acesso à dinâmica intrapsíquica subjacente ao desenvolvimento da identidade de género. Foram estabelecidos como operadores organizativos as referências edipianas e o eu relacional. Tendo-se os procedimentos propostos revelado relevantes para a ampliação do potencial clínico da técnica do Rorschach, na compreensão de um mundo angustias fusionais aliadas ás dificuldades do manejo pulsional que o fazem desorganizar e lhe impedem o acesso á constituição de processos identificatórios.O principio da realidade não está estabilizado, algumas falhas de realidade. Representação de si frágil e desvalorizada, balanceando entre o forte/ fraco grande/ pequeno numa.<br>ABSTRACT: In our society, the family is the privileged place of construction of the self male or female. A child is born with a biological sex and through society, culture and family where it is inserted vai developing their gender sexual (Kimmel, 200; Stets & Burke, 2000). A theoretical framework for this important, is psychoanalysis, because the moment that has as one of its major concerns understanding the construction of the subject, gender identity thus becomes central because permit an interpretation of dynamic construction of sexual subject. In this case study of a qualitative nature, we tried to understand and facilitate the process by assessing response Rorschach, access to the intrapsychic dynamics underlying the development of gender identity. The established operators organizational references and I Oedipal relational. Taking up the proposed procedures revealed relevant to expand the clinical potential of the Rorschach technique, understanding of an inner world fusional anguish allied ace of management difficulties that make instinctual disrupt him and prevent access to the constitution process identificatórios.O principle of reality is not stabilized, some failures reality. Representation fragile and devalued, balancing between strong / weak big / small a

This article aims to put face to face the positions of Deleuze and Lacan in relation to the theories regarding the idea of the Oedipus complex inherited from Freudian psychoanalysis. This confrontation will become manifest by reviewing the concepts of desire, repression and castration, from the point of view of the subject’s relationship with language. In order to achieve this purpose, we will go through thetopological proposals whereby both Deleuze and Lacan render account of that whichis housed outside the signifying logic, the paradigmatic axis of which is precisely the Oedipal Logic, thus forging a cutting-edge work in which the materiality of language, its sonority and texture will acquire relevance to rethink the status of the unconscious itself.<br>Este artículo pretende poner en tensión las posiciones de Deleuze y Lacan en relación a las teorizaciones relacionadas a la idea del complejo de Edipo herederodel psicoanálisis freudiano. Esta tensión se expresará al revisar los conceptos dedeseo, represión y castración, desde el punto de vista de la relación del sujeto con el lenguaje. Para esto atravesaremos por las propuestas topológicas gracias a las cuales, tanto Deleuze como Lacan, pueden dar cuenta de aquello que se aloja por fuera de la lógica significante, cuyo eje paradigmático es justamente la lógica edípica, para así llegar a forjar un trabajo de frontera en el cual la materialidad del lenguaje, su sonoridad y textura cobraran relevancia para repensar el estatuto mismo del inconsciente.

In this dissertation, I develop a theory of rhetorical catharsis and apply this theory primarily to George W. Bush's rhetoric of the War on Terror in Iraq. Contrary to the standard Aristotelian perspective of catharsis as the "purging of pity and fear" that brings relief and resolution to an audience, I turn to Kenneth Burke's claim that catharsis is tied to the scapegoating process and argue that catharsis is the purging and projection of one's trauma to a victim who serves as the sacrificial vessel for one's pain. I thus redefine catharsis as the purging of trauma that plays a key role in catharsis and leads to the victimage and scapegoating of the Other in language and public life.To explore how rhetorical catharsis functions in language use, I analyze the concept of a rhetorical catharsis through literature, presidential rhetoric, and print media and show how catharsis operates in the rhetoric of war, particularly that of President Bush's war on terror in Iraq. In addition to Kenneth Burke, I draw on scholars such as Rene Girard, Deborah Willis, Terry Eagleton, Robert Ivie, Allen Carter, Robert McChesney, and Bartholomew Sparrow, among many others. I argue that communities experiencing tragedy use language to name people and entire nations as the scapegoat for their ills.By understanding how language makes possible the victimage and scapegoating of vasts groups of people and even entire nations in times of national trauma, I offer ways of speaking about trauma that may help redirect the violent impulse of catharsis.

Abstract This study focuses on a son's violence against his father. It consists of three substudies. The first substudy examines the incidence of patricide in Finland. The incidence was essentially the same in the beginning and in the end of 20th century: 0.07 and 0.06 cases of patricide per 100 000 per year respectively. At the same time the incidence of matricide increased from 0.01 to 0.07 per 100 000 respectively. The proportion of patricide and matricide of all homicides increased due to the decrease of all homicides in Finland during the study period. The incidences of parricides seem to be of the order of other western countries. In the second substudy, all the reports of 107 serious violent offences by a son against his father were extracted from among all the forensic psychiatric examination reports made in Finland in 1973-96. These index cases were compared to 107 control cases of homicide against other people. Various statistically significant differences were found between the groups. The controls had the following characteristics more commonly than the indexes: developmental problems (especially conduct disorders) in childhood, personality disorders, dependence on alcohol or drugs and criminal histories as adults. They were also married and left their childhood home before the crime more commonly than the indexes. The indexes had psychotic diseases and dependence on parents more commonly, but also better educational and professional success. The indexes were more commonly diagnosed as 'without legal responsibility' (33% vs. 12%) and the controls more commonly 'with diminished legal responsibility'. In the third substudy, five major predisposing factors for a son's violence against his father were identified (incidence in parenthesis): A son's dependence on his parents (70%), a son's tendency to violence (65%), psychotic disease of the son (31%), the fathers oppressive and violent behaviour against the son (36%), protection of the mother against the father's violence by the son (21%). One or more of these factors could be involved in any single case. It was found that oedipality could not explain the violence of a son against his father. Distant and aggressive fathering and close and caring mothering can be seen as predisposing factors both to violence against the father and to the claimed general high prevalence of oedipality in our culture<br>Tiivistelmä Tämä työ koostuu kolmesta osatutkimuksesta. Ensimmäisessä tutkittiin pojan tekemän patrisidin eli isän surmaamisen esiintyvyyttä Suomessa. Patrisidin esiintyvyys pysyi suunnilleen samana, 0.07 ja 0.06 tapausta 100 000 asukasta kohti vuodessa, 1900-luvun alussa ja lopussa. Sen sijaan matrisidin eli äidin surmaamisen esiintyvyys kasvoi 0.01:stä 0.07:ään tapaukseen 100 000 asukasta kohti vuodessa. Patrisidien ja matrisidien osuus kaikista henkirikoksista Suomessa kasvoi 1900-luvun aikana, koska yleinen henkirikoskuolleisuus aleni kyseisen jakson aikana. Patrisidin ja matrisidin esiintyvyys vastaa muissa länsimaissa havaittuja esiintyvyyslukuja. Työn toisessa osassa tutkittiin mielentutkimuksessa vuosina 1973-96 olleiden 107 isänsä surmanneen tai pahoinpidelleen pojan ja heidän 107 verrokkinsa teon taustalla olleita tekijöitä. Useita tilastollisesti merkitseviä eroja havaittiin: verrokit kärsivät indeksejä yleisemmin lapsuudessa kehitysongelmista, etenkin käytöshäiriöistä, ja aikuisena persoonallisuushäiriöistä ja päihderiippuvuudesta sekä tekivät yleisemmin rikoksia. He myös solmivat parisuhteen ja lähtivät kotoa ennen väkivallantekoaan yleisemmin kuin indeksit Indeksit olivat yleisemmin psykoottisia ja riippuvaisia vanhemmistaan, mutta menestyivät paremmin koulussa ja työelämässä kuin verrokit. Indeksit todettiin mielentilatutkimuksessa yleisemmin syyntakeettomiksi kuin verrokit ja verrokit taas yleisemmin alentuneesti syyntakeiseksi kuin indeksit. Tutkimuksen kolmannessa osassa isään kohdistuneelle väkivallalle todettiin viisi keskeistä altistavaa tekijää (tekijöiden esiintyvyys 107 indeksin joukossa suluissa prosentteina): Pojan riippuvuus vanhemmistaan (70%), pojan väkivaltataipumus (65%), pojan psykoottinen sairaus (31%), isän alistava ja väkivaltainen käytös poikaa kohtaan (36%), äidin suojelu isän väkivallalta (21%). Kuhunkin tapaukseen saattoi liittyä samanaikaisesti yksi tai useampia tekijöitä. Oidipaalisuuden ei havaittu olevan keskeinen altistava tekijä pojan väkivallalle isää kohtaan. Etäinen ja väkivaltainen isyys ja suojaava ja huolehtiva äitiys voivat olla altistavia tekijöitä paitsi isään kohdistuvalle väkivallalle myös aiemmissa tutkimuksissa havaitulle oidipaalisuuden yleisyydelle kulttuurissamme

This thesis investigates in which ways Samuel R. Delany’s novel Hogg challenge the discourse of normality as stipulated, supported and maintained by the capitalist Oedipal repression of desire. Drawing from Deleuze and Guattari’s theory of the Anti-Oedipus, this thesis explores how Deleuze and Guattari’s notion of desire as a free and productive force can be seen as a disruptive element in a society that relies on repression of the subject for its stability. Furthermore, this thesis explores how the novel questions the understanding of civilisation being dependent on the individual’s submission to the Oedipus triangulation and in extension the Oedipal capitalist separation between the public and the private sphere. Ultimately, the main argument claims that Oedipal repression of desire only allows desire to invest in a restricted number of representations, making other identities than the heteronormative suspicious or invisible.  Hogg depicts a society where capitalism commodifies everything, and need the Oedipal subject to ensure its stability. The characters in the novel that do not subject themselves to the capitalist discourse escape the subjection to the Oedipal triangulation, and are thus free to invest their desire in any way they choose, primarily in non-heterosexual and salirophiliac activities. These characters can be seen as schizoid subjects that are constantly threatening to expose the fragility of the social structure by embodying a contrast to the hegemonic discourse and therefore constantly question its authority as main creator of reason and reality.

O objetivo principal da dissertação é problematizar, a partir de textos de Freud, o prolongamento de expectativas e fantasias próprias da infância em aspectos sociais e políticos da vida adulta. Para tanto, as relações interpessoais são consideradas mediante dois pontos de vista da teoria freudiana, a saber, o do desenvolvimento individual e das relações e estruturas sociais. Como pano de fundo para tal problemática, são abordadas a experiência edípica infantil e a situação de desamparo como base das repetições que perseguem o neurótico, ocasionadas por uma trajetória de vida em parte desconhecida, por determinações inconscientes e herdadas, por fantasias e expectativas projetadas na alteridade, de modo que estes fenômenos são vividos como necessários pelo ser humano. Além disso, os sentimentos de medo, angústia e culpa, além da procura por uma autoridade que forneça segurança e proteção, encontram continuidade em situações e figuras sociais e políticas, influenciando na estrutura do Estado e da sociedade de forma ampla, tal como aparece na cosmovisão religiosa. Em contraposição a este prolongamento da infância na vida adulta, questiona-se a possibilidade da clínica freudiana em se aproximar da \"cosmovisão científica\" mediante seu objetivo de problematizar tais prolongamentos e repetições ao compreender o sintoma como Nachträglichkeit e como unheimlich. Com isso, no trabalho analítico encontramos a assunção do desamparo, uma organização pulsional singular e o acolhimento de vivências contingentes sem que haja uma quebra na estrutura psíquica do indivíduo<br>The main objective of this dissertation is to discuss, in the Freudian theory, the prolongation of expectations and fantasies from childhood existents in social and political aspects of adult life. To do so, interpersonal relationships are considered by two points of view: the individual development and the social relations and structures. As background for such problems, the oedipal experience and the situation of helplessness are mentioned as some ways of dealing with the repetitions that persecute the neurotic, occasioned by an unknown life trajectory, by unconscious and inherited determinations, by costumes and expectations projected on the otherness: all these events are experienced as a necessity by the human being. Additionally, the feelings of fear, anguish and guilt (and also the search for an authority to provide security and protection) find continuity in social and political figures and situations, influencing the structure of the state and society as it appears in the Freud\'s \"religious world-view\". In contrast to this prolongation of childhood into adulthood, we question the possibility of Freudian clinic in approaching the \"scientific world-view\" to problematize such extensions and repetitions. Therefore, we understand the symptom as Nachträglichkeit and unheimlich, leading to an assumption of helplessness, a singular instinct\'s (Trieb) organization and reception of contingent experiences without any break in the psychic structure of the human individual