Journal articles: 'Oedipus'

1

Fuchsman, Kenneth A. "Fathers and Sons: Freud's Discovery of the Oedipus Complex." Psychoanalysis and History 6, no. 1 (January 2004): 23–36. http://dx.doi.org/10.3366/pah.2004.6.1.23.

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Freud's path to the Oedipus complex reveals conceptual inconsistencies. These uncertainties concern fathers, brothers and sons, and the place of the oedipal triad within the family romance. Freud's uncovering of the Oedipus complex emerged, in large part, from his self-analyis of his childhood years in Freiberg. Freud's father was 20 years older than his third wife, and had two adult sons, all of whom lived in Freiberg. In 1897, when Freud announces the Oedipus complex, he stresses his love of his mother and jealousy of his father. Yet in 1924 Freud wrote that his adult brother, Philipp, had taken his father's place as the child's rival. The oedipal complex alters if there are four players rather than three. Freud's concept of an oedipal triangle does not adequately explain the psychological dynamics of his childhood. Fuller conceptual clarity would occur if the dynamics of the Oedipus complex were placed within the family context in which it unfolds.

2

Kilborne, Benjamin. "Oedipus and the Oedipal." American Journal of Psychoanalysis 63, no. 4 (December 2003): 289–97. http://dx.doi.org/10.1023/b:tajp.0000004735.93979.e9.

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Nikolarea, Ekaterini. "Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology." TTR : traduction, terminologie, rédaction 7, no. 1 (February 27, 2007): 219–67. http://dx.doi.org/10.7202/037174ar.

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Abstract Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology — This study tries to show that the abundance of translations, imitations and radical re-interpretations of a genre like tragedy is due to various social discourses of target societies. Taking as an example Sophocles' Oedipus the King, the acclaimed tragedy par excellence, this essay discusses how the discourses of philosophy, politics and philology influenced the reception of this classical Greek tragedy by the French and British target systems (TSs) during the late 17th and early 18th century and the late 19th and early 20th century. The first section shows how, by offering Sophocles' Oedipus the King as a Greek model of tragedy, Aristotle's Poetics has formed the Western literary criticism and playwriting. The second section attempts to demonstrate why three imitations of Oedipus by Corneille (Oedipe), Dryden {Oedipus) and Voltaire {Oedipe) became more popular than any other contemporary "real" translation of the Sophoclean Oedipus. The third and final part holds that the observed revival of Oedipus the King in late 19th- and early 20th-century France and England was due to the different degrees of influence of three conflicting but overlapping discourses: philosophy, philology and politics. It illustrates how these discourses resulted in different reception of the Greek play by the French and British TSs.

4

Zaslavskii, Oleg B. "OEDIPUS PLOT: PARADOXES OF IDENTIFICATION." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 2 (June 1, 2021): 99–123. http://dx.doi.org/10.18522/2415-8852-2021-2-99-123.

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This article deals with the plot structure of the Oedipus myth. From the set of known sources we select a series of elements that form a plot representing an object of our analysis. The author takes into account the following elements: 1) piercing of Oedipus’s ankles and the subsequent displacement of Oedipus to the mountain Cithaeron, 2) the deadly clash between Oedipus and Laius, 3) the riddle of the Sphinx and the Oedipus’s answer, 4) the suicide of the Sphinx, 5) the accession of Oedipus to the throne in Thebes, 6) Oedipus’s discovery of his own origins, 7) the suicide of Jocasta, 8) the self-blinding of Oedipus. In the plot there is a series of correspondences related to the number 3. In the riddle of the Sphinx that Oedipus solves, 3 stages of human life are indicated: infancy, maturity, old age. In the Sphinx, 3 components are integrated in one whole: “man + lion + bird”. Oedipus commits murder in the point where 3 roads meet. It is shown that incest and clash with the unrecognized father are expressed in the myth in the framework of such a ternary structure. The relevant elements that normally are separated from each other, merge in one point that is nothing else than a singular transformation. The other cases consist in mapping a common human history (that is continual by its very meaning) to a discrete sequence of three phases in an individual story of Oedipus. We also discuss some aspects of the Sphinx riddle that were not given a proper attention before. The feature with respect to which different stages of human life are classified, is related to legs. In turn, this motif is correlated with the presence or absence of footing. Deprivation of it is acts as a source of danger. In turn, this motif is correlated with the presence or absence of footing. Deprivation of it is acts as a source of danger. Both the contents of the riddle and the process of asking and guessing can be correlated with further investigation carried out by Oedipus.

5

Tobin, Robert Deam. "Fixing Freud: The Oedipus Complex in Early Twenty-First Century US American Novels." Psychoanalysis and History 13, no. 2 (July 2011): 245–64. http://dx.doi.org/10.3366/pah.2011.0091.

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Representations of Sigmund Freud in early 21st century US American novels rely on and respond to the image of Freud that emerged from investigations by Paul Roazen (Brother Animal, 1969) and Jeffrey Moussaieff Masson (The Assault on Truth, 1984), which cast doubt on the validity of the Oedipus complex. Relying on Roazen, Brenda Webster's Vienna Triangle ( 2009 ) links Freud's oedipal thinking to paranoia and male masochism. Working with Masson, Selden Edwards's The Little Book ( 2008 ) takes Freud to task for abandoning the seduction theory in favour of the Oedipus complex. Jed Rubenfeld's The Interpretation of Murder ( 2006 ) rethinks the Oedipus complex as a projection of adults onto their children. All three novels seek to celebrate Freud's understanding of the human psyche, while shifting the focus of the oedipal structure away from the murderous and lustful child toward the adult.

6

Ślusarska, Alicja. "Se perdre afin de se retrouver : l'importance du passage entre l’absence et la présence dans Œdipe sur la route de Henry Bauchau." Quêtes littéraires, no. 2 (December 30, 2012): 116–23. http://dx.doi.org/10.31743/ql.4632.

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Retracing in his novel the labyrinthine journey that leads Oedipus from the place of his abomination (Thebes) to the city of his future glory (Colonus), Henry Bauchau fills the emptiness between Sophocles’s Oedipus the King and Oedipus at Colonus. Bauchau’s hero, a powerful king, loses everything and stabs his eyes out when the cruel truth about his real identity is revealed. Blind, homeless, devoid of meaning of life, Oedipus leaves on a journey to pass away anywhere. However, his way to death turns out to be, thanks to benevolent presence of others and art’s liberating power, the road to personal elucidation. The story of Bauchau’s Oedipus, who finally recognizes himself as a truly human, is based therefore on the passage between absence and presence, between darkness and lucidity, on the union of contradictions which symbolize the complexity of human nature. This paper attempts to analyse different representations of absence in Bauchau’s novel. Afterwards, the article focuses on the ways which facilitate Oedipus’s road leading from depersonalization to rediscovery of his own identity.

7

García Pérez, David. "La peste del tirano Edipo: política, medicina y desmesura." Nova Tellus 39, no. 1 (January 27, 2021): 27–43. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27542.

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This paper exposes the thematic relationship between politics and medicine which can be inferred from the Oedipus Tyranus by Sophocles. We can find the concept of excess (ὕβρις) as a common thread between both arts (τέχναι) as it is the cause of the wrecking plague in 430 BC Attica, just as it is formulated in the Tragic version of Oedipus̓ myth. We resort to the History of Thucydides to help us approaching Sophocles̓ tragedy from historiography and, thus, configurating Oedipus as a tyrant, conception linked to the theme of the aforementioned plague.

8

Pimonov, V. I. "WHAT IS THE MYTH OF OEDIPUS: TO THE QUESTION OF THE STRUCTURE OF THE PLOT." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23 (2021): 110–15. http://dx.doi.org/10.37313/2413-9645-2021-23-76-110-115.

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Object of the article:the myth of Oedipus. Subject of the article:the structure of the Oedipus story. Purpose of research: the analysis of the specific characteristics of the story of Oedipus which distinguish it from a traditional folklore story. Research methods:methods of the structural and semantic analysis applied. Results: The author argues that the specific nature of the story of Oedipus is characterised by the “prophetic” function of the combination of two interrelated motifs: the number motif and motif of feet. Those motifs, which are conveyed in the riddle of the Sphinx by the words “four-footed”, “two-footed” and “three-footed”, semantically connect with each other the riddle, Oedipus' fate and his name (Οἰδίπους). The riddle about a creature which changes the number of its feet corresponds to 1) Oedipus' biography (he changes the number of his feet when he becomes “three-footed” - a blind man with a staff); 2) Oedipus's name (which foreshadows the answer to the riddle - “man” (alias “two-footed”) as part of the name Οἰδίπους - δίπους means “two-footed”; 3) number symbolism related to Oedipus (“three days” after Oedipus' birth his father pierced his feet and cast him upon a hillside; Oedipus killed his father where “three roads meet”). Field of application: literary studies. Conclusion:The author argues that story of Oedipus is a result of the semantic adaptation (accommodation) of a traditional folklore story to the ancient numerological riddle about a creature with a changing number of feet by adding of the imagery connected to the number motif and motif of feet. The systematic manifestation of the number motif and of motif of feet on various levels of the structure suggests that the “telling name” of Οἰδίπους (“swollen foot” and “two-footed”) has been integrated into a traditional folklore tale in order to semantically adapt it to the ancient riddle about “feet”. The author is indebted to Svetlana Gracheva, Dan Whitman and Oleg B. Zaslavsky for stimulating discussions and helpful advice.

9

Posèq, Avigdor W. G. "INGRES'S OEDIPAL "OEDIPUS AND THE SPHINX"." Source: Notes in the History of Art 21, no. 1 (October 2001): 24–32. http://dx.doi.org/10.1086/sou.21.1.23206972.

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10

Quinodoz, Danielle. "THE OEDIPUS COMPLEX REVISITED: OEDIPUS ABANDONED, OEDIPUS ADOPTED." International Journal of Psychoanalysis 80, no. 1 (February 1, 1999): 15–30. http://dx.doi.org/10.1516/0020757991598549.

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11

Bemporad, Jules. "Oedipus Rex and Oedipus Complex." Journal of the American Academy of Psychoanalysis 23, no. 3 (September 1995): 493–500. http://dx.doi.org/10.1521/jaap.1.1995.23.3.493.

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12

Zepf, Siegfried, and Judith Zepf. "Little Hans and the “Enigmatic Messages” of His Parents." Psychoanalytic Review 107, no. 6 (December 2020): 551–81. http://dx.doi.org/10.1521/prev.2020.107.6.551.

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The authors discuss the psychoanalytic treatment of Little Hans, drawing on the perspective offered by Laplanche's concept of “enigmatic messages,” which they believe can contribute to a better understanding of this case history. They conclude that Little Hans's positive Oedipus complex conceals his negative Oedipus complex in which he represents his parents’ oedipal problems in a distorted fashion. They demonstrate the way his parents project aspects of these problems into Hans's psyche, where his subsequent identifications with them lead to substitutive formations. They trace the course of Little Hans's horse phobia and examine his search for substitutive formations that have to align with his parents’ defenses if they are to succeed in securing his safety and their affection.

13

Ko, Joon-seog. "Oedipus’s Diasporic Purification Ritual in Oedipus at Colonus." Literature and Religion 21, no. 1 (March 30, 2016): 173–86. http://dx.doi.org/10.14376/lar.2016.21.1.173.

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14

Seong, Gi-hyeon. "Typology of Oedipus - Centerung on Anti-Oedipus." Phenomenology and Contemporary Philosoph 88 (March 31, 2021): 155–84. http://dx.doi.org/10.35851/pcp.2021.03.88.155.

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15

Zepf, Siegfried, Burkhard Ullrich, and Dietmar Seel. "Oedipus and the Oedipus complex: a revision." International Journal of Psychoanalysis 97, no. 3 (June 2016): 685–707. http://dx.doi.org/10.1111/1745-8315.12278.

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16

Edmunds, Lowell. "Oedipus as Tyrant in Sophocles' Oedipus Tyrannus." Syllecta Classica 13, no. 1 (2002): 63–103. http://dx.doi.org/10.1353/syl.2002.0007.

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17

Henao Castro, Andrés Fabián. "Can the subaltern smile? Oedipus without Oedipus." Contemporary Political Theory 14, no. 4 (February 10, 2015): 315–34. http://dx.doi.org/10.1057/cpt.2014.51.

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18

Lushbaugh, Clarence, Gretchen Humason, and Neal Clapp. "Histology of colon cancer inSaguinus oedipus oedipus." Digestive Diseases and Sciences 30, no. 12 (December 1985): 119S—125S. http://dx.doi.org/10.1007/bf01296990.

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19

Pimonov, V. I. "THE STORY OF OEDIPUS: REVENGE PLOT AND A STATUE OF MITYS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 22, no. 74 (2020): 121–29. http://dx.doi.org/10.37313/2413-9645-2020-22-74-121-129.

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Object of the article: This study focuses on the revenge plot in the story of Oedipus. Subject of the article: The author argues that the revenge scheme based on the story about “the statue of Mitys at Argos, which killed the man who caused Mitys's death falling on him”, described by Aristotle, is in fact implemented in the story of Oedipus in a hidden way. The author draws a parallel between a role of the statue of Colonus in “Oedipus at Colonus” by Sophocles (which the author considers as an inseparable part of the Oedipus story – along with “Oedipus Tyrannus”) and a role of the statue of Mitys. Purpose of research: The article describes the structure of the story of Oedipus in the light of the revenge motif. Results: The author argues that the plot structure of the Oedipus story is based on the inversion of the roles of “murderer” and “avenger”, when “murderer” becomes “victim” and “victim” becomes “murderer”. This inversion happens as a result of “splitting” of the “victim”, when the act of vengeance is performed not by the “victim” proper, but their double. Oedipus is split into two different figures, thus becoming a double of himself. Oedipus in the role of “murderer”, who kills Laius in a quarrel at the crossroads, symbolically is a double of Oedipus in the role of “victim”, who, as Laius believes, had been killed by him as a newborn baby. Furthermore, Oedipus in the role of “avenger”, who “avenges” the murder of Laius by blinding the murderer in a symbolic act of suicide, already knows that he is a parricide, while Oedipus in the role of “murderer”, who kills Laius, does not yet know that he kills his father. Field of application: literary studies, structural poetics, classics. Conclusion: The story of Oedipus is based on the revenge plot, which unfolds through prophecies and foreshadowing, prefiguring the alternation of the acts of murder and revenge. For their great assistance and helpful advice, I am indebted to Dan Whitman and Svetlana Gracheva.

20

Pope, Maurice. "Addressing Oedipus." Greece and Rome 38, no. 2 (October 1991): 156–70. http://dx.doi.org/10.1017/s0017383500023548.

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In Oedipus Tyrannus the other characters regularly call Oedipus ‘tyrannos’. My question is what we should call him. Etymologically the obvious translation is tyrant. But the word tyrant suggests a wickedness of heart, or at any rate a total disregard for the wishes of others, that is far from characteristic of the Oedipus that Sophocles portrays. Moreover Oedipus was elected ‘tyrannos’ and refers to his post as ‘tyrannis’. These are two further obstacles since no-one purposely chooses a tyrant to rule over them and in English tyrantship is not a plausible name for a government office. For these reasons – or so one imagines – translators and commentators avoid the etymological derivative. But they do not pursue the logic of usage to the point of adopting any of the standard modern terms for an elected head of state such as president. Instead the title they confer on Oedipus, virtually without exception, is king.

21

Datan, Nancy. "The Oedipus Cycle: Developmental Mythology, Greek Tragedy, and the Sociology of Knowledge." International Journal of Aging and Human Development 27, no. 1 (July 1988): 1–10. http://dx.doi.org/10.2190/xap9-uqp1-rnmw-v7r8.

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The Oedipus complex of Freud is based on the inevitability of the tragic fate of a man who fled his home to escape the prophecy of parricide. Thus, he fulfilled it by killing a stranger who proved to be his father. As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son. Where Freud looks to the son, however, I look to the father, who set the tragedy in motion by attempting to murder his infant son. Themes ignored in developmental theory but axiomatic in gerontology are considered in this study of the elder Oedipus. The study begins by noting that Oedipus ascended the throne of Thebes not by parricide but by answering the riddle of the Sphynx and affirming the continuity of the life cycle which his father denied. In the second tragedy of the Oedipus Cycle of Sophocles, Oedipus at Colonus, this affirmation is maintained. As Oedipus the elder accepts the infirmities of old age and the support of his daughter Antigone, Oedipus the king proves powerful up to the very end of his life when he gives his blessing not to the sons who had exiled him from Thebes, but to King Theseus who shelters him in his old age. Thus, the Oedipus cycle, in contrast to the “Oedipus complex,” represents not the unconscious passions of the small boy, but rather the awareness of the life cycle in the larger context of the succession of the generations and their mutual interdependence. These themes are illuminated by a fuller consideration of the tragedy of Oedipus.

22

Gilmore, Richard. "Oedipus Techs." Film and Philosophy 5 (2002): 35–44. http://dx.doi.org/10.5840/filmphil20025/65.

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23

Noys, Benjamin. "Oedipus wrecks." Philosophers' Magazine, no. 50 (2010): 121–22. http://dx.doi.org/10.5840/tpm20105087.

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24

Bower, Bruce. "Oedipus Wrecked." Science News 140, no. 16 (October 19, 1991): 248. http://dx.doi.org/10.2307/3975708.

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25

Dillon, Elizabeth Maddock. "Ante-Oedipus." History of the Present 12, no. 1 (April 1, 2022): 4–33. http://dx.doi.org/10.1215/21599785-9547212.

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Abstract This article argues that Freud’s account of binary sexual difference, articulated in the Oedipus complex, is conditioned by a history of racial capitalism. Turning to the foundational work of Hortense Spillers on gender and Atlantic race slavery, this article proposes that dominant models of binary gender are ineluctably racialized, created by the property regimes and systemic sexual violence of colonial modernity that emerged in the Atlantic World of the eighteenth century—a space defined by the structures of labor, race, sexuality, and capital accumulation that developed in and around the first factories of the modern world, namely, the sugar plantations of the colonial Caribbean. The article links Freud’s own economic and intellectual history to the production of capital and the theft of land and labor in the Caribbean by way of the central European trade in textiles and global cotton production. Examining a series of family portraits, the article locates the eclipsed yet central force of Black women’s productive and socially reproductive work extracted for the creation of white, heteropatriarchal reproduction and property accumulation.

26

Knox, Bernard. "Oedipus Rex." Grand Street 4, no. 2 (1985): 203. http://dx.doi.org/10.2307/25006718.

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Marley, Harlene, Sophocles, Holderlin, and Heiner Muller. "Oedipus Tyrannos." Theatre Journal 42, no. 2 (May 1990): 254. http://dx.doi.org/10.2307/3207767.

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McCall, Tom, Jean-Joseph Goux, Catherine Porter, and Pietro Pucci. "Oedipus Contemporaneous." Diacritics 25, no. 4 (1995): 2. http://dx.doi.org/10.2307/465178.

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Whittall, Arnold, Stravinsky, Cambridge Music Handbooks, and Stephen Walsh. "Oedipus Rex." Musical Times 134, no. 1808 (October 1993): 587. http://dx.doi.org/10.2307/1002878.

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30

Francis, E. D. "Oedipus Achaemenides." American Journal of Philology 113, no. 3 (1992): 333. http://dx.doi.org/10.2307/295458.

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31

Swartz, Sally. "Oedipus matters." Psychodynamic Practice 13, no. 4 (November 2007): 361–73. http://dx.doi.org/10.1080/14753630701576989.

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Wolff, Tamsen. "Oedipus (review)." Theatre Journal 51, no. 3 (1999): 333–34. http://dx.doi.org/10.1353/tj.1999.0075.

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Brady, Owen Edward. "Oedipus (review)." Theatre Journal 57, no. 2 (2005): 311–13. http://dx.doi.org/10.1353/tj.2005.0049.

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Chase, Bob. "Oedipus Radicalized." History Workshop Journal 51, no. 1 (2001): 220–25. http://dx.doi.org/10.1093/hwj/2001.51.220.

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Berry, Ellen E., and Rachel Blau Duplessis. "Counter-Oedipus." NOVEL: A Forum on Fiction 20, no. 1 (1986): 78. http://dx.doi.org/10.2307/1345620.

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36

Neimark, Geoffrey. "Oedipus Today." American Journal of Psychiatry 165, no. 11 (November 2008): 1394–95. http://dx.doi.org/10.1176/appi.ajp.2008.06111940.

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Izzard, Susannah. "Deconstructing Oedipus." European Journal of Psychotherapy & Counselling 5, no. 1 (March 2002): 1–12. http://dx.doi.org/10.1080/13642530210159170.

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38

Schechner, Richard. "Oedipus Clintonius." TDR/The Drama Review 43, no. 1 (March 1999): 5–7. http://dx.doi.org/10.1162/105420499320582123.

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39

Hatfield, Frances. "Revisiting Oedipus." Jung Journal 14, no. 3 (July 2, 2020): 107–30. http://dx.doi.org/10.1080/19342039.2020.1781528.

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Fischer, Nancy L. "Oedipus Wrecked?" Gender & Society 17, no. 1 (February 2003): 92–110. http://dx.doi.org/10.1177/0891243202238980.

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HITCHCOTT, NICKI. "African Oedipus?" Paragraph 16, no. 1 (March 1993): 59–66. http://dx.doi.org/10.3366/para.1993.16.1.59.

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42

Szekeres, CSILLA. "OEDIPUS BŰNE." Antik Tanulmányok 44, no. 1-2 (November 1, 2000): 135–46. http://dx.doi.org/10.1556/anttan.44.2000.1-2.11.

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Leavy, Stanley A. "Demythologizing Oedipus." Psychoanalytic Quarterly 54, no. 3 (July 1985): 444–54. http://dx.doi.org/10.1080/21674086.1985.11927113.

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Klein, David B., and Evangeline J. Spindler. "Revitalizing Oedipus." Psychoanalytic Social Work 13, no. 2 (November 2006): 31–51. http://dx.doi.org/10.1300/j032v13n02_03.

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Spiro, Melford E. "Oedipus Redux." Ethos 20, no. 3 (September 1992): 358–76. http://dx.doi.org/10.1525/eth.1992.20.3.02a00050.

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46

Ryzman, Marlène. "Oedipus, nosos and physis in Sophocles' Oedipus Tyrannus." L'antiquité classique 61, no. 1 (1992): 98–110. http://dx.doi.org/10.3406/antiq.1992.1133.

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Decreus, Freddy. "oedipus and Beyond oedipus from structuralism to postructuralism." أوراق کلاسیکیة 7, no. 1 (October 1, 2007): 1–20. http://dx.doi.org/10.21608/acl.2007.89049.

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48

Carawan, Edwin. "The Edict of Oedipus (Oedipus Tyrannus 223-51)." American Journal of Philology 120, no. 2 (1999): 187–222. http://dx.doi.org/10.1353/ajp.1999.0023.

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49

Lushbaugh, Clarence, Gretchen Humason, and Neal Clapp. "Histology of colitis:Saguinus oedipus oedipus and other marmosets." Digestive Diseases and Sciences 30, no. 12 (December 1985): 45S—51S. http://dx.doi.org/10.1007/bf01296974.

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김기영. "Seneca's anti-Oedipus: a comparative study of Seneca's Oedipus and Sophocles' Oedipus the King." Journal of Classic and English Renaissance Literature 16, no. 2 (December 2007): 105–34. http://dx.doi.org/10.17259/jcerl.2007.16.2.105.

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Journal articles on the topic 'Oedipus'

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