Journal articles: 'Philoctetes (Sophocles)'

1

Jones, Richard, Sophocles, and R. G. Ussher. "Sophocles: Philoctetes." Classical World 85, no. 2 (1991): 137. http://dx.doi.org/10.2307/4351048.

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Davidson, John. "HOMER AND SOPHOCLES' PHILOCTETES." Bulletin of the Institute of Classical Studies 40, Supplement_66 (July 1, 1995): 25–35. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02177.x.

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Whitby, Mary. "Telemachus Transformed? The Origins of Neoptolemus in Sophocles' Philoctetes." Greece and Rome 43, no. 1 (April 1996): 31–42. http://dx.doi.org/10.1093/gr/43.1.31.

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Sophocles' Philoctetes contains many moments of high drama and of tension between conflicting protagonists. The prologue scene between Odysseus and Neoptolemus lays the foundations for the development of the dramatic crisis by portraying their fundamental disagreement as to the best means of bringing Philoctetes back to Troy, while the long first episode (219–675) depicts the evolution of the intense relationship between Philoctetes and the youthful Neoptolemus, who has in the prologue reluctantly agreed to implement Odysseus' plan to deceive Philoctetes. The first stage of this interaction is the mutual communication of past histories: Philoctetes describes his abandonment and life on Lemnos, and in return Neoptolemus tells how Odysseus fetched him to Troy from Scyros with the story that, since Achilles was now dead, his son was required to take the city.

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4

Tessitore, Aristide. "Justice, Politics, and Piety in Sophocles′ Philoctetes." Review of Politics 65, no. 1 (2003): 61–88. http://dx.doi.org/10.1017/s0034670500036536.

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The easy conflation of god(s) and country—what might be called the dual foundations of justice—is challenged and explored in Sophocles′ Philoctetes. Odysseus's consistent appeal to the common good and Philoctetes′ troubled attachment to a divinely sanctioned principle of justice are set at odds in a play where the fate of the entire Greek expedition at Troy hangs in the balance. While most read the play as a celebration of young Neoptolemus as he frees himself from the corrupt influence of Odysseus and, through his encounter with Philoctetes, grows in personal integrity, this essay maintains that Neoptolemus comes under the influence of both antagonists because each has something important to teach him. Rather than offering a simple morality tale, Sophocles′ investigation of justice in this play both reveals the depth of the conflict between the requirements of politics and those of piety, and criticizes the extreme embodiments of these perspectives in the figures of Odysseus and Philoctetes.

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Dunn, Francis. "Narrative Bonds in Sophocles’ Philoctetes." Mouseion 17, S1 (February 2020): 31–42. http://dx.doi.org/10.3138/mous.17.s1.004.

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Hawkins, Anne Hunsaker. "Ethical Tragedy and Sophocles' "Philoctetes"." Classical World 92, no. 4 (1999): 337. http://dx.doi.org/10.2307/4352287.

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7

Taplin, Oliver. "THE MAPPING OF SOPHOCLES' PHILOCTETES." Bulletin of the Institute of Classical Studies 34, no. 1 (December 1, 1987): 69–77. http://dx.doi.org/10.1111/j.2041-5370.1987.tb00554.x.

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8

Falkner, Thomas M. "Containing Tragedy: Rhetoric and Self-Representation in Sophocles' "Philoctetes"." Classical Antiquity 17, no. 1 (April 1, 1998): 25–58. http://dx.doi.org/10.2307/25011073.

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This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias on theatrical deception (ἀπάτη). The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice.

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O'Higgins, Dolores. "Narrators and Narrative in the Philoctetes of Sophocles." Ramus 20, no. 1 (1991): 37–52. http://dx.doi.org/10.1017/s0048671x00002824.

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According to Proclus, the story of the bowman Philoctetes' return to Troy from his solitude on Lemnos appeared in the Little Iliad. In terms of the overall history of the war, the event occurs relatively late—shortly before the destruction of the city; indeed, according to the oracle of Helenus which inspired the recovery expedition to Lemnos, it seems to have been necessary to the success of the Greek war-effort. In terms of the epic tradition, it can be seen as something of a watershed, standing between a glorious, but unsuccessful, past and a successful, but somewhat ambivalent, future, recorded in the Iliou Persis.Sophocles' play looks both forward to and back at the war in which it is situated. Neoptolemus and Odysseus, the men chosen to retrieve the great bow of Heracles and its current owner, Philoctetes, anticipate the glory that will belong to the destroyers of Troy. They also together concoct a manipulative account of the recent past—a version clearly at odds with familiar epics. The purpose of this account—narrated by Neoptolemus— appears to have been to win Philoctetes' trust and sympathy, and so to induce him to hand over the bow of his own accord. At first this bow seems to be the primary focus of the conspirators' designs, although eventually it becomes clear that Philoctetes himself also will be needed at Troy. Philoctetes hands Neoptolemus the bow when he falls ill, but shortly afterwards Neoptolemus explains the true reason for his arrival on Lemnos, and later returns the bow to Philoctetes. Neoptolemus' gradually emerging scruples are the obvious cause of this breakdown in the plot. He reclaims the heroic tradition of his father, Achilles, and rejects Odysseus' trickery.

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Drake, Drake. "Natural and Divine orders: The Politics of Sophocles’ Philoctetes." Polis: The Journal for Ancient Greek Political Thought 24, no. 2 (2007): 179–92. http://dx.doi.org/10.1163/20512996-90000113.

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A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero’s role. This paper examines the relations of sympathy (oiktos) between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature (including the phenomenon of sympathy) and the demands of the gods, this study provides a reading of Sophocles’ play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles’ tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place.

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11

Harrison, S. J. "Sophocles and the cult of Philoctetes." Journal of Hellenic Studies 109 (November 1989): 173–75. http://dx.doi.org/10.2307/632045.

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Amongst the legendary heroes who appear in leading roles in the surviving plays of Sophocles, it is noteworthy that Oedipus, Ajax and Heracles all received some form of divine worship in Attica, not to mention localities more readily associated with each of them. Sophocles is not unaware of this aspect of each of these figures, but where the future prospect of their cult is alluded to in the plays, such allusions are not always prominent or explicit; though the future cult of the Oedipus of the Oedipus Coloneus is crucial for the play, it is only directly mentioned in a few passages, while the Ajax of Ajax is seen as a future receiver of cult only in a single unusual scene of supplicating his dead body, and it is unclear in the Trachiniae whether the audience is intended to supply a future cult on Oeta and apotheosis for Heracles. I should here like to argue that in Philoctetes Sophocles again consciously employs a hero destined to receive worship after his death, and that this is subtly suggested at the end of the play.

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12

Prauscello, Lucia. "The language of pity: eleos and oiktos in Sophocles' Philoctetes." Cambridge Classical Journal 56 (2010): 199–212. http://dx.doi.org/10.1017/s1750270500000324.

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Pity and the characters' response to it have always been recognized as one of the central themes of Sophocles' Philoctetes. In recent years scholarship on the play has mainly focused either on the cognitive aspects of the dynamics triggered by pity-related emotions (that is, how pity seems to activate and at the same time is triggered by rational reflection and experience) or on its self-conscious meta-theatrical dimension (what Halliwell has called the intrinsic ‘theatricality of pity’ and the audience's response to it). My intention is to contribute to this critical debate by focusing more narrowly on the semantics of pity-related words in the play: a linguistic analysis of the language of pity in Sophocles' Philoctetes will show that the seeming interchangeability of the words oiktos and eleos bears further investigation. The first section of this article will offer a brief diachronic survey of the semantics of oiktos- and eleos-related formations in Homer and the fifth century tragedians (with special attention to Sophoclean usage). Building upon recent studies on paradigmatic semantic relations, it will then be argued that the relation of eleos to oiktos is better described, from a synchronic perspective, in terms of ‘hyponymy’ or ’gradient synonymy.’

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13

Lineaweaver, William. "Sophocles and the Wound of Philoctetes." Annals of Plastic Surgery 88, no. 5 (June 2022): S519—S522. http://dx.doi.org/10.1097/sap.0000000000003230.

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14

SCODEL, RUTH. "Sophocles: Philoctetes by Schein, Seth L." Classical Journal 110, no. 3 (2015): 382–84. http://dx.doi.org/10.1353/tcj.2015.0037.

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15

Clark, James. "Odysseus' entrance at Sophocles Philoctetes 974." Acta Classica 66, no. 1 (2023): 175–84. http://dx.doi.org/10.1353/acl.2023.a914053.

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16

Willink, C. W. "Sophocles, Electra 137–9." Classical Quarterly 47, no. 1 (May 1997): 299–301. http://dx.doi.org/10.1093/cq/47.1.299.

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The familiar crux in line 139, as obelized by Dawe, disappears in the new Oxford Text, whose editors accept the Triclinian reading . Their short critical note touches only on the metrical issue, citing discussions by Stinton and Diggle, in both of which acceptance of here is cautiously linked with recognition of the same responsion at Philoctetes 209/218 and Euripides, Medea 159/183. The note concludes with a reference (credited to Miss Parker) to p. 75 of an article by K. Itsumi.

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17

Lane, Nicholas. "Textual notes on Sophocles, Philoctetes 1–675." Classical Quarterly 54, no. 2 (December 2004): 441–50. http://dx.doi.org/10.1093/clquaj/bmh050.

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18

Drew Leder. "Illness and Exile: Sophocles’ Philoctetes." Literature and Medicine 9, no. 1 (1990): 1–11. http://dx.doi.org/10.1353/lm.2011.0157.

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Lane, N. "Textual notes on Sophocles, Philoctetes 1-675." Classical Quarterly 54, no. 2 (December 1, 2004): 441–50. http://dx.doi.org/10.1093/cq/54.2.441.

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20

Blundel, Mary Whitlock. "The Phusis of Neoptolemus in Sophocles' Philoctetes." Greece and Rome 35, no. 2 (October 1988): 137–48. http://dx.doi.org/10.1017/s0017383500033040.

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In the opening lines of Philoctetes, Odysseus addresses his companion Neoptolemus as his famous father's son (3f.). This is the first indication of an important theme: phusis, in the sense of inherited human qualities or capacities. Although Achilles has died before the dramatic action begins, he hovers in the background of the play, and no one challenges his claim to the highest admiration. Neoptolemus is closely associated with his father, and is repeatedly addressed or referred to as his father's son. In one particularly striking passage of his deception speech he describes to Philoctetes his own reception at Troy, where the welcoming army swore that they saw the dead Achilles alive once more (356–8). These lines conjure up a vivid physical likeness between father and son, but it remains to be seen how deep the resemblance really lies. Neoptolemus has the potential, in virtue of his inherited phusis, to be as admirable as Achilles.3 But two questions remain to be answered in the course of the play: Will he prove to be his father's son in character as well as birth? If so, how will this excellence be manifested?

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21

Finglass, P. J. "Sophocles Philoctetes 671-673: A Reconsideration Reconsidered." Mnemosyne 67, no. 3 (June 10, 2014): 443–49. http://dx.doi.org/10.1163/1568525x-12341357.

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22

Cozzi, Cecilia. "Being Achilles’ Heir: A Psychoanalytical Reading of Neoptolemus in Sophocles’ Philoctetes." Helios 49, no. 2 (September 2022): 83–111. http://dx.doi.org/10.1353/hel.2022.a904789.

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Abstract: This article offers a psychoanalytical reading of Neoptolemus’s evolution on stage in Sophocles’ Philoctetes . The analysis stems from Italian psychoanalyst Massimo Recalcati’s definition of inheritance as a movement of reclamation, which entails the heir’s active choice in approaching his father’s example. In the end of the play, Neoptolemus emerges as a good heir, because he neither dismissed Achilles’ values entirely (as Odysseus demanded in the prologue), nor did he re-enact his father’s behavior uncritically, as Philoctetes was expecting. Neoptolemus deliberately chooses to reclaim his Achillean ethos , without overlooking the importance of other forces at work (friendship and piety).

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23

Rabel, Robert J. "Sophocles' Philoctetes and the Interpretation of Iliad 9." Arethusa 30, no. 2 (1997): 297–307. http://dx.doi.org/10.1353/are.1997.0009.

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24

Davies, Malcolm. "Book review: Sophocles, Philoctetes, written by Schein, S.L." Mnemosyne 68, no. 2 (February 3, 2015): 309–12. http://dx.doi.org/10.1163/1568525x-12301883.

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25

Ciruzzi, Luciano. "Neoptolemus' indecision in Sophocles' Philoctetes. A philosophical reading." Revista Archai, no. 32 (June 18, 2022): e03209. http://dx.doi.org/10.14195/1984-249x_32_09.

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De entre los héroes sofócleos, la figura de Neoptólemo sobresale por su particular dificultad para comprometerse de manera definitiva con un curso de acción. El joven acepta llevar a cabo un engaño pergeñado por Odiseo para obtener el arco infalible de Filoctetes, quien vive hace diez años abandonado en la isla desierta de Lemnos. Pero una vez avanzada la treta, cuando se aproxima realmente al objetivo, de pronto se ve asaltado por una duda que le impide seguir adelante, de manera tal que se desdibuja su posición de agente capaz de concretar el plan. Neoptólemo termina por confesar al solitario isleño el motivo fraudulento de su presencia, y, excusándose, aduce estar gobernado por una “necesidad” (v.923: anánke). En este trabajo presentaré, en primer lugar, las condiciones de emergencia y las características del plan ideado por el ingenioso rey de Ítaca; en segundo lugar, una explicación de la indecisión de Neoptólemo a partir de la particular relación entre su discurso y la realidad que pretende referir; en tercer lugar, me centraré en las derivas ontológicas del conflicto central de la obra y, finalmente, avanzaré sobre los corolarios prácticos que se siguen de lo laborado en los puntos anteriores.

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Wiggins, Ellwood. "Cold War Compassion: The Politics of Pity in Tom Stoppard’s Neutral Ground and Heiner Müller’s Philoktet." Literatur für Leser 38, no. 4 (January 1, 2015): 255–70. http://dx.doi.org/10.3726/lfl2015-4_255.

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At the same time on opposite sides of the Iron Curtain, two avant-garde playwrights decided to remake a 2400-year-old tragedy. Heiner Müller (1929-1996) and Tom Stoppard (1937-) are widely regarded as two of the most innovative dramatists of East Germany and Great Britain and respectively. In 1965, Stoppard submitted a script for a spy thriller to Granada TV and Müller published his first play since being banned from the East German Writers’ Association in 1961. Though unbeknownst to each other and writing for drastically different purposes, media, and audiences, they both lit upon Sophocles’ Philoctetes as the appropriate vehicle for their work. Sympathy has been recognized as central to tragedy since Aristotle’s Poetics, and Philoctetes is the ultimate drama of compassion. The story of the wounded Philoctetes is an Ur-scene for pity in the same way that Ajax’s slaughter of the sheep in his madness is a primal scene for indignation, or Orpheus’ descent to the underworld, for grief. In finding their way to Philoctetes, Stoppard and Müller grapple with a fundamental problem of theatrical art.

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27

Lada-Richards, Ismene. "Neoptolemus and the bow: ritual thea and theatrical vision in Sophocles' Philoctetes." Journal of Hellenic Studies 117 (November 1997): 179–83. http://dx.doi.org/10.2307/632556.

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Much has been written in recent years on the ways in which ritual forms, patterns and sequences are remoulded into the imagery and action of classical Greek plays. A tragedy which offers exceptionally fertile ground for studies on ‘ritual and drama' is Sophocles’ Philoctetes, since theatrical and ritual strands are so intimately interwoven in its plot as to create an inextricable knot. In forthcoming work I explore in full both the ritual liminality of Philoctetes' and Neoptolemus' existence as well as the subtle ways in which the vital dramatic experiences of ‘acting’ and ‘viewing’ are inherently intertwined in this play with the initiatory strands of rites of maturation. The present note, conversely, is less ambitious in its scope, as its exclusive focus is one pivotal moment of the play's action, namely the dramatic exhibition of the bow to Neoptolemus' and the spectator's eyes. No matter how inherently interwoven with the action Philoctetes' bow is, Neoptolemus' close look, as he accepts it in his hands (Phil. 776), ‘theatricalises’ the object by converting it into a dramatic spectacle, a thea. But even before being formally delivered to Neoptolemus' custody (Phil. 762-78), the bow is prominently singled out as the prime focus of attention, becoming, as it does, a stage-prop uniquely capturing the boy's concentrated sight.

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28

Haselswerdt, Ella. "Mythic Landscapes and Ecologies of Suffering in Sophocles’ Philoctetes." Classical Antiquity 42, no. 1 (April 1, 2023): 87–120. http://dx.doi.org/10.1525/ca.2023.42.1.87.

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On some accounts, Sophocles’ Philoctetes is most notable for what it lacks: alone among the extant Attic tragedies, there are no women in the dramatis personae; alone among the extant plays of Sophocles, no characters die; and the chorus plays a relatively diminished role, adhering most closely to Aristotle’s injunction in the Poetics that a chorus should take on the role of an actor. But when viewed through the lens of ecocritical feminism and vibrant materialism, notably the work of Donna Haraway, Mel Chen, Jane Bennett, and Anna Tsing, the play’s landscape, the island of Lemnos, comes to life; and it teems with feminine energies as well as compromised and complicated animacies, while the chorus serves as an empathic focalizer and world-builder. This paper argues that in addition to animating the island’s material ecosystem, Sophocles conjures Lemnos’ mythic ecosystem, most notably the tale of the notorious, murderous, and malodorous Lemnian Women. All of these elements cohere to characterize Philoctetes as an abject, sterile menstruator. Furthermore, the chorus’s brief, strange Hymn to Gaia encapsulates the play’s tension between a masculine, heroic, teleological narrative and the feminine, primordial, bestial world of Lemnos. These dynamics are further considered through the lens of fifth-century Athenian colonization, the story of the indigenous Lemnian Pelasgians, and a colonial reading of the Odyssey’s Cyclopeia. Finally, the paper explores the close, mutually constitutive relationship between text, landscape, and body via the popularity, in later antiquity, of pharmacological applications of Lemnian Earth, used to treat, among other ailments, snakebites and menstruation.

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29

Perysinakis, Ioannis. "Sophocles' Philoctetes and the homeric epics [An anthropological approach]." Mètis. Anthropologie des mondes grecs anciens 9, no. 1 (1994): 377–89. http://dx.doi.org/10.3406/metis.1994.1039.

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30

Nussbaum, Martha Craven. "Invisibility and Recognition: Sophocles' Philoctetes and Ellison's Invisible Man." Philosophy and Literature 23, no. 2 (1999): 257–83. http://dx.doi.org/10.1353/phl.1999.0044.

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31

KOSAK, JENNIFER CLARKE. "THE MALE INTERIOR: STRENGTH, ILLNESS, AND MASCULINITY IN SOPHOCLES' PHILOCTETES." Bulletin of the Institute of Classical Studies 49, Supplement_87 (January 1, 2006): 49–64. http://dx.doi.org/10.1111/j.2041-5370.2006.tb02330.x.

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Xian, Ruobing. "The End of Sophocles’ Philoctetes and the Significance of ΓΝΩΜΗ." Hermes 151, no. 1 (2023): 23–39. http://dx.doi.org/10.25162/hermes-2023-0002.

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33

Tarnopolsky, Christina. "Noble Lying and Democratic Rhetoric in Sophocles' Philoctetes and Plato's Republic." Theory & Event 25, no. 2 (April 2022): 470–92. http://dx.doi.org/10.1353/tae.2022.0020.

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LOURENÇO, Frederico. "Notes on the Text of Sophocles, Philoctetes 1-81." Euphrosyne 31 (January 2003): 205–7. http://dx.doi.org/10.1484/j.euphr.5.124168.

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Paillard, Elodie. "Odysseus and the concept of “nobility” in Sophocles' "Ajax" and "Philoctetes"." Akropolis: Journal of Hellenic Studies 4 (December 20, 2020): 65–84. http://dx.doi.org/10.35296/jhs.v4i1.59.

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The article shows that Odysseus in Sophocles’ Ajax and Philoctetes is at the centre of a redefinition of the concept of “nobility”. This figure has been seen to promote a new definition of the concept, but previous analyses tended to focus only on one or the other of the two plays, as Odysseus appeared too dissimilar to be considered from the same viewpoint. A closer analysis reveals that he defends the same values and is endowed with the same non-élite features in both plays. Among those values is the idea that nobility has nothing to do with descent, but with the ability at proving helpful to the whole social group. The perception other characters have of Odysseus, however, changes between the first and the second play. This change can be linked to the evolution of Athenian society. With the development of democracy, non-élite citizens redefined concepts such as eugeneia.

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36

Bers, Victor, and Carola Greengard. "Theatre in Crisis: Sophocles' Reconstruction of Genre and Politics in Philoctetes." Classical World 84, no. 4 (1991): 323. http://dx.doi.org/10.2307/4350834.

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37

Worman, Nancy Baker. "Infection in the Sentence: The Discourse of Disease in Sophocles' Philoctetes." Arethusa 33, no. 1 (2000): 1–36. http://dx.doi.org/10.1353/are.2000.0006.

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SCHEIN, SETH L. "THE ILIAD & ODYSSEY IN SOPHOCLES' PHILOCTETES: GENERIC COMPLEXITY AND ETHICAL AMBIGUITY." Bulletin of the Institute of Classical Studies 49, Supplement_87 (January 1, 2006): 129–40. http://dx.doi.org/10.1111/j.2041-5370.2006.tb02335.x.

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TAOUSIANI, AKRIVI. "ΟΥ ΜΗ ΠΙΘΗΤΑΙ: PERSUASION VERSUS DECEPTION IN THE PROLOGUE OF SOPHOCLES' PHILOCTETES." Classical Quarterly 61, no. 2 (November 9, 2011): 426–44. http://dx.doi.org/10.1017/s0009838811000267.

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40

Lada-Richards, Ismene. "Staging the Ephebeia: Theatrical Role-Playing and Ritual Transition in Sophocles' Philoctetes." Ramus 27, no. 1 (1998): 1–26. http://dx.doi.org/10.1017/s0048671x00001910.

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The last two decades have seen a renewed emphasis on studies falling within the general area of Ritual and Drama. The majority of extant plays have been scrutinised in the search for ritual schemes and sequences, metaphors and allusions remoulded in their imagery and language, and some of the juiciest discussions of Greek theatre have emerged as a result. Nevertheless, compared to this proliferation of studies on particular aspects of ritual symbolism and ritual patterns, few scholars have attempted to investigate the ways in which ritual and theatre can interrelate and unfold in parallel at the level of dramatic plots. Brilliant, albeit isolated, examples of this type of inquiry can be sought in Froma Zeitlin's unequalled pieces on Aristophanes' Thesmophoriazusae and Euripides' Ion; in the rewarding work of Foley, Segal, Goldhill on the Bacchae as well as in Bowie's ‘ritual’ reading of Aristophanic plots and Seaford's monumental study of Dionysiac patterns in fifth-century Greek tragedy.

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Daneš, Jaroslav. "Only Deceit Can Save Us: Audience, War, and Ethics in Sophocles’ Philoctetes." Classical Philology 114, no. 4 (October 2019): 551–72. http://dx.doi.org/10.1086/705465.

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ZERBA, MICHELLE L. "Modalities of Tragic Doubt in Homer's Iliad, Sophocles' Philoctetes, and Shakespeare's Othello." Comparative Literature 61, no. 1 (January 1, 2009): 1–25. http://dx.doi.org/10.1215/00104124-2008-001.

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Cogolludo Díaz, Juan José. "‘The Troubles’ and the Peace Process in Northern Ireland in Seamus Heaney’s "The Cure at Troy"." Journal of English Studies 19 (December 22, 2021): 47–72. http://dx.doi.org/10.18172/jes.4439.

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Based on "Philoctetes", the tragic play by Sophocles, the poet Seamus Heaney creates his own version in "The Cure at Troy" to present the political and social problems in Northern Ireland during the period that became known euphemistically as ‘the Troubles’. This paper aims to highlight the significance of Heaney’s play in the final years of the conflict. Heaney uses the classical Greek play to bring to light the plight and suffering of the Northern Irish people as a consequence of the atavistic and sectarian violence between the unionist and nationalist communities. Nevertheless, Heaney also provides possible answers that allow readers to harbour a certain degree of hope towards peace and the future in Northern Ireland.

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Willink, C. W. "Critical Studies in the Cantica of Sophocles: III. Electra, Philoctetes, Oedipus at Colonus." Classical Quarterly 53, no. 1 (May 2003): 75–110. http://dx.doi.org/10.1093/cq/53.1.75.

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Sandridge, Norman B. "Feeling Vulnerable, but Not Too Vulnerable: Pity in Sophocles' Oedipus Coloneus, Ajax and Philoctetes." Classical Journal 103, no. 4 (2008): 433–48. http://dx.doi.org/10.1353/tcj.2008.0009.

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Macdonald, Sarah. "His Father’s Son?" Groundings Undergraduate 9 (April 1, 2016): 61–71. http://dx.doi.org/10.36399/groundingsug.9.198.

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The play Philoctetes, by Sophocles, and the Aeneid, Vergil’s epic, are parts of the same homeric tradition; responses to ancient poetry afforded practically divine status. This paper is primarily interested in how these authors explore their reception of this tradition through Neoptolemus’ acceptance or rejection of his inheritance; what he may choose to emulate from the person of Achilles, and what they in turn wish to take from the work of Homer. This exploration is particularly concerned with the anxieties of their own times, and a uniting desire to consider conflict and its effect on culture and populace through literary forms. This paper was originally written for the honours course Homer and his readers, taught by Dr Hau and Dr Chadha of the Classics department, and seeks to engage with the same issues of historiography, intent and intertext.

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Nussbaum, Martha. "Compassion: The Basic Social Emotion." Social Philosophy and Policy 13, no. 1 (1996): 27–58. http://dx.doi.org/10.1017/s0265052500001515.

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Philoctetes was a good man and a good soldier. When he was on his way to Troy to fight alongside the Greeks, he had a terrible misfortune. By sheer accident he trespassed in a sacred precinct on the island of Lemnos. As punishment he was bitten on the foot by the serpent who guarded the shrine. His foot began to ooze with foul-smelling pus, and the pain made him cry out curses that spoiled the other soldiers' religious observances. They therefore left him alone on the island, a lame man with no resources but his bow and arrows, no friends but the animals who were also his food.Ten years later, according to Sophocles' version of the story, they come to bring him back: for they have learned that they cannot win the war without him. The leaders of the expedition think of Philoctetes as a tool of their purposes; they plan to trick him into returning, with no empathy for his plight. The Chorus of soldiers, however, has a different response. Even before they see the man, they imagine vividly what it is like to be him– and they enter a protest against the callousness of the commanders:For my part, I pity him– thinking of how, with no living soul to care for him, seeing no friendly face, wretched, always alone, he suffers with a fierce affliction, and has no resources to meet his daily needs. How in the world does the poor man survive?

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ChoiHaeYoung. "The Bow of Heracles in the Philoctetes of Sophocles and the Financial Crisis of Athens." Journal of Greco-Roman Studies 56, no. 2 (September 2017): 1–25. http://dx.doi.org/10.23933/jgrs.2017.56.2.1.

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O’Brien, Eugene. "‘A Pause for Po-Ethics’: Seamus Heaney and the Ethics of Aesthetics." Humanities 8, no. 3 (August 12, 2019): 138. http://dx.doi.org/10.3390/h8030138.

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In this paper, I examine the connections between ethics and aesthetics in the writing of Seamus Heaney. Looking at Heaney’s neologism of ‘po-ethics’, I move through his poetry and especially his translation of Sophocles’ Philoctetes, entitled The Cure at Troy, and focus on his Fourth Irish Human Rights Commission Annual Human Rights Lecture: Writer & Righter, wherein he traces a number of strong connections between human rights workers and creative writers. The essay is written through a theoretical matrix of the ethical theories of Jacques Derrida, Emmanuel Levinas and Simon Critchley. It looks at poems from Heaney himself, as well as work from Shakespeare, Dante Alighieri, Czeslaw Miłosz, and Primo Levi. It focuses on poetic language as a discourse that can act as a counterweight and as a form of redress on behalf of the dignity of the individual human being against the pressures of mass culture and society.

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Fulkerson, Laurel. "Neoptolemus grows up? ‘Moral development' and the interpretation of Sophocles’Philoctetes." Cambridge Classical Journal 52 (2006): 49–61. http://dx.doi.org/10.1017/s1750270500000464.

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Sophocles'Philoctetes, first performed in 409 BCE, is a complex play, engaging with a number of issues that have guaranteed it a great deal of attention through the ages. Among other things, from what we know about the Aeschylean and Euripidean versions, Sophocles offers a far more dynamic work than either of the other two playwrights, involving many plot twists, false resolutions, and, all-but uniquely, a character who seems to grow up in the course of the play. Although Philoctetes is generally considered the key figure of the play, as it revolves around his willingness to use his bow in the service of his enemies, Neoptolemus too is of great interest to many (modern) readers, as it is in him that we see the clearest case in extant tragedy of a decision rethought on moral grounds; Neoptolemus' struggle may well render him one of the most compelling characters in Greek tragedy (Reinhardt (1979) 166; cf. Gill (1996) 1–18).

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Journal articles on the topic 'Philoctetes (Sophocles)'

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