Gotowe bibliografie tematyczne / Oedipus (greek mythology) – drama

Gotowa bibliografia na temat „Oedipus (greek mythology) – drama”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Oedipus (greek mythology) – drama"

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Datan, Nancy. "The Oedipus Cycle: Developmental Mythology, Greek Tragedy, and the Sociology of Knowledge". International Journal of Aging and Human Development 27, nr 1 (lipiec 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.
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Septiani, Resti Maudina, i Rika Handayani. "Intertextual Analysis of Ayu Utami’s Cerita Cinta Enrico, Indonesian Legend Sangkuriang (Tangkuban Perahu), and Greek Mythology Oedipus". Andalas International Journal of Socio-Humanities 6, nr 1 (29.06.2024): 61–68. http://dx.doi.org/10.25077/aijosh.v6i1.60.

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This article is designed to offer comprehensive analyses of characterizations, plot, setting, intertextual relationships, and hypogram of Cerita Cinta Enrico, the folklore of Sangkuriang (Tangkuban Perahu), and the myth of Oedipus. Qualitative descriptive method is used along with intertextual approach. Based on the analysis of the data, the results are: (1) the three stories analyzed employ the main character as their title; (2) the three of them use the traditional plot and flashback; (3) all of them address Oedipus complex issue; (4) Sangkuriang (Tangkuban Perahu) and Oedipus are the hypograms of Cerita Cinta Enrico.
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Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama". Journal of Scientific Exploration 37, nr 2 (11.08.2023): 201–17. http://dx.doi.org/10.31275/20233109.

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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.
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Caplan, Debra. "Oedipus, Shmedipus: Ancient Greek Drama on the Modern Yiddish Stage". Comparative Drama 44, nr 4 (2010): 405–22. http://dx.doi.org/10.1353/cdr.2010.0011.

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Retno Martini, Laura Andri. "Oedipus Sang Raja dan Bujang Munang: Mitos Peletak Dasar Larangan Incest dalam Masyarakat". Nusa: Jurnal Ilmu Bahasa dan Sastra 13, nr 1 (28.02.2018): 36. http://dx.doi.org/10.14710/nusa.13.1.36-45.

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Folklore is a story of the past that characterizes every nation with its diverse cultures, including the rich culture and history of each nation. The folklore that tells incest is found all over the world. In almost all ethnic groups there is an incest first mythology. Versions are submitted vary, depending on the social life of the community. Bujang Munang and Oedipus are cultural myth stories that have the theme of the origin of the incest ban. Oedipus is a myth that developed in Greece while Bujang Munang is a myth that developed in Nanga Serawai Santang district of West Kalimantan. There is a linkage of the basic structure of the narrative in the story of Oedipus and Bujang Munang. Incest behavior is also not allowed to occur in the norms of life of Greek society and the people of West Kalimantan. There will be unfavorable consequences for incest and surrounding people if the rule is violated.
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Fitch, John, i Siobhan McElduff. "CONSTRUCTION OF THE SELF IN SENECAN DRAMA". Mnemosyne 55, nr 1 (2002): 18–40. http://dx.doi.org/10.1163/156852502753776939.

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The characters of Senecan tragedy are more inward-looking than those of Greek tragedy. One aspect of their inwardness lies in their fierce attempts to define and assert identities for themselves, through their names, actions, family history, mythical precedents, social roles etc. These self-assertions are driven by desire in many forms, chiefly desire for recognition by others, and are closely connected with the tragic outcomes of the dramas. One section of the article is devoted to Oedipus, who insists on identifying with his guilty deeds despite his innocence of intention; another to Phaedra, who has multiple versions of herself and cannot choose between them.
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Roselli, D. K. "The Work of Tragic Productions: Towards a New History of Drama as Labour Culture". Ramus 42, nr 1-2 (2013): 104–21. http://dx.doi.org/10.1017/s0048671x00000096.

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The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some respects laid the foundation for subsequent theorising of the political subject.Given the importance placed on such figures as Sophocles’ Oedipus and Antigone starting with Schelling and Hegel, it is perhaps not surprising that recent work in critical theory has tended to recast these particular tragic figures in its critique of Enlightenment thought. Nonetheless, there are problems with the adoption of these figures as paradigms through which tragedy becomes a tool to represent the ancient Greek polis and to work through modern political and ethical problems. The repeated returns to certain aspects of Oedipus or Antigone have contributed to a structured silence around the issue of class relations. Along with the increasingly dominant role of neoliberalism and the continuing importance of identity politics, much recent critical theory has contributed to the occlusion of class and labour from public discourse and academic research. In such a climate, it is no wonder that historical materialism rarely figures in academic works. I wonder whether another narrative is possible through the study of Greek tragedy.
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Okari Onkoba, Stephen, Albert Mugambi Rutere i Nicholas Goro Kamau. "Confluence of Kinship and Divinity in Ola Rotimi’s The Gods Are Not to Blame and Sophocles’ Oedipus the King and Oedipus at Colonus". March to April 2022 3, nr 2 (30.04.2022): 102–9. http://dx.doi.org/10.46606/eajess2022v03i02.0164.

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Blood and affinal ties are central in any discourse on kinship. This paper grapples with representation of kinship ties within a spiritual matrix envisioned in the dramaturgy of Ola Rotimi and Sophocles. The Gods Are Not to Blame being an adaptation of Sophocles’ Oedipus the King whose storyline is continued in Oedipus at Colonus, makes it possible for the article to explore the interplay between divinity and kinship in the milieus reflected in ancient Greek and African societies. Whereas previous scholars have majorly focused on consanguinity to make sense of kinship affiliations, this article examines how Greek and African notions of spirituality impact on affinal relationships depicted in Rotimi and Sophocles’ drama. The interrogation is conducted by examining the effect of divinity on kinship from the dimension of in-laws and wives. The analysis of the three plays hinges on psychoanalytic literary theory. The paper concludes that while the involvement of the divine in human relationships enhances affinal ties, it also contributes to their disintegration when divine-centrism supersedes communitarian interests.
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Gilula, Dwora. "The First Greek Drama on the Hebrew Stage: Tyrone Guthrie's Oedipus Rex at the Habima". Theatre Research International 13, nr 2 (1988): 131–46. http://dx.doi.org/10.1017/s0307883300014437.

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On the Hebrew Stage, Greek and Roman drama was never a first priority, The Habima Theatre, from its inception in 1917 to the present day, staged only six classical productions (out of more than four hundred), the Cameri Theatre – four, the Haifa Municipal Theatre – five, the Ohel theatre, in all of its forty-four years of activity (1925–69), although it staged 163 plays, never found the need or drive to produce a Greek or a Roman drama, and the young Beer-Sheba Theatre, the last addition to Israel's theatrical establishment, although daring and innovative, has yet to venture into the classical world. The reasons are not far to seek, and there are weighty local reasons in addition to the general cultural factors, which have contributed to the scarcity of classical drama productions. Hellenism and Hellenization, according to the view held even today by some educated and secular Israelis, are not neutral entities. The terms themselves are polemic, connote cultural assimilation, and stand for departure from national Jewish values and the forfeit of cultural originality and independence. From the times of the Hebrew Enlightenment movement, however, classical languages and culture became an integral part of the curriculum of Jewish studies even in religious institutions of higher learning, such as the Bar-Ilan University. On the other hand, as a reaction to the classical culture becoming an embodiment of secular, anti-clerical Zionist renaissance, the extreme Orthodox establishment in contemporary Israel has continued to treat it as a dangerous desecration and even extended the derogatory use of the term ‘Hellenization’ to cover the entire Western cultural influence. As a result until today classical literature has only a marginal place in the high-schools' curriculum, it is not an immediate, and certainly not the most important source from which Hebrew writers and playwrights draw their inspiration, and even well educated spectators have at best only a very superficial knowledge of the classical heritage. The few classical plays produced on the Hebrew stage were chosen at random, chiefly because leading or popular directors insisted on directing a certain play, or because a play, which achieved success in Europe, was transplanted lock, stock and barrel to Israel, sometimes together with its director.
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Ley, Graham. "On the Pressure of Circumstance in Greek Tragedy". Ramus 15, nr 1 (styczeń 1986): 43–51. http://dx.doi.org/10.1017/s0048671x0000343x.

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It is an unfortunate weakness of most of the standard textbooks on Greek tragedy that they fail to communicate the immediacy of pressure that is of its essence. This particular inadequacy has hardly been corrected by the recent spate of books on either staging or the visual presentation of plays, which suggest themselves now as the standard adjustment to existing handbooks for students with or without the language.One of the few certainties we have, in beginning the argument, is that tragedy is, if anything, about decisions and their consequences. This much is implied in Aristotle's intuition about hamartia, which if it means ‘mistake’ can be taken to direct attention to the circumstances which dictate a decision. Indeed, decisions are far more prominent in Attic tragedy than mistakes as such: to take two examples from the Oresteia, which as an Aeschylean trilogy should not seem so exceptional as people are inclined to make it, both Agamemnon and Orestes take decisions of terrifying consequence that can hardly be classed as ‘mistakes’ (namely to kill a daughter and to kill a mother, Iphigenia and Clytemnestra in Agamemnon and Libation Bearers respectively). In this respect, Aristotle might be taken as considering more closely the sentimental drama that flourished in his day, and in this, if we judge by his perceptions, it may well be that Oedipus the King of Sophocles in fact marks a turning-point—in the desperate futility of Oedipus' errors—which is more readily, and perhaps with less justice, ascribed to Euripides.
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Rozprawy doktorskie na temat "Oedipus (greek mythology) – drama"

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McFall, Edwin K. "Tragic hero to antichrist : Macbeth, the Oedipus Tyrannus of the English Renaissance /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10234.

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Pearcey, Linda. "The Erinyes in Sophocles' Oedipus at Colonus /". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68129.

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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.
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.
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.
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Greenham, Ellen Jessica. "Vision and desire Jim Morrison's mythography beyond the death of God /". Connect to thesis, 2008. http://adt.ecu.edu.au/adt-public/adt-ECU2009.0003.html.

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Hussein, Abdelhamid. "Griechische Mythologie im modernen arabischen Theater am Beispiel Ägyptens und Syriens /". Aachen : Shaker, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56878742.html.

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Riley, Kathleen. "The reception and performance of Euripides' Herakles : reasoning madness". Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199534487.001.0001.

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Hamilton, Christine Rose Elizabeth. "The Function of the Deus ex Machina in Euripidean Drama". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500421429824731.

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Van, Zyl Smit E. "Contemporary witch : dramatic treatments of the Medea myth". Thesis, Stellenbosch : University of Stellenbosch, 1987. http://hdl.handle.net/10019.1/1440.

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Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.

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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.
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Masciadri, Virgilio. "Eine Insel im Meer der Geschichten : Untersuchungen zu Mythen aus Lemnos /". Stuttgart : Steiner, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016376984&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Dixon, Dustin W. "Myth-making in Greek and Roman comedy". Thesis, 2015. https://hdl.handle.net/2144/16320.

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Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in creating and transmitting myths and argues that their mythical innovations influenced accounts found in tragedy and prose mythography. Although no complete Greek mythological comedy survives, hundreds of fragments and titles reveal that this type of drama was extremely popular; they were staged in Greece, Sicily, and Southern Italy and make up about one-half of all comedies produced in some periods. These fragments, supplemented by Plautus' Amphitruo (the only nearly complete mythological comedy), vase-paintings, and ancient testimonia, shed light on the vibrant tradition of comic mythology. In chapter one, I argue that ancient scholars' and prose mythographers' citations of comedies invite us to view comedians as authoritative myth-makers. I then survey the development of mythological comedy throughout the fifth and fourth centuries BCE. The plays' titles reveal common mythical topics as well as a number of comic myths that survived independent of the tragic tradition. In chapter two, I argue that Cratinus' Dionysalexandros and Epicharmus' Odysseus the Deserter are wildly innovative comedies that challenge previous accounts for mythological authority. In chapter three, Epicharmus' Pyrrha and Prometheus, Pherecrates' Antmen, and Cratinus' Wealth Gods are studied to show how comedians created new stories by fusing myths together and by combining myth and historical reality. In chapter four, I look at the affairs of Zeus to show the dramatists' different approaches to the same mythical material. While tragedians tend to focus on the suffering of Zeus' victims, comedians feature Zeus' humorously outlandish and usually harmless seductions. In chapter five, on the Amphitruo, I show how Plautus has transformed a myth about the birth of Heracles into a story about Jupiter's long-term affair with a pregnant woman. In chapter six, I enter the debate about comedy's influence on tragedy and argue that mythical variants invented by the comic poet Cratinus have been incorporated into Euripides' Trojan Women and Helen, which demonstrates that, as early as the fifth century, comic poets were seen as mythological authorities.
2017-06-30T00:00:00Z
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Książki na temat "Oedipus (greek mythology) – drama"

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Spender, Stephen. The Oedipus trilogy: King Oedipus, Oedipus at Colonos, Antigone : a version. London: Faber and Faber, 1985.

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Gide, André. Theseus and Oedipus =: Thésée et Oedipe. London: Hesperus, 2002.

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Stephen, Spender. Oedipus trilogy. New York: Random House, 1985.

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Annaeus, Seneca Lucius. Oedipus. Heidelberg: Universitätsverlag C. Winter, 1994.

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Sophocles. The oedipus plays: Antigone, oedipus rex, and oedipus at colonus : Sophocles. New York, NY: Spark Publishing, 2014.

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Sophocles. The Oedipus plays of Sophocles: Oedipus the King, Oedipus at Colonus, Antigone. [New York]: Meridian, 1996.

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Sophocles. The Oedipus plays of Sophocles: Oedipus the King, Oedipus at Colonus, Antigone. [New York]: Mentor, 1991.

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Aeschylus, red. Oedipus: A story of gold and shadow. Woodstock, IIIinois: Dramatic Publishing, 2011.

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Higgins, Charles. CliffsNotes Oedipus trilogy. New York, NY: Wiley Pub., 2000.

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Higgins, Charles. CliffsNotes Oedipus trilogy. New York: Hungry Minds, 2000.

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Części książek na temat "Oedipus (greek mythology) – drama"

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Alaux, Jean. "Acting Myth: Athenian Drama". W A Companion to Greek Mythology, 141–56. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396942.ch7.

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Love, Harry. "Oedipus at this point in time: divine will on a secular stage". W Greek and Roman Drama: Translation and Performance, 23–48. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02908-9_3.

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga". W Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Hard, Robin. "Theban mythology from Cadmos to Oedipus". W The Routledge Handbook of Greek Mythology, 331–51. Routledge, 2019. http://dx.doi.org/10.4324/9781315624136-15.

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Bosher, Kathryn, Fiona Macintosh, Justine McConnell, Patrice Rankine i Florencia Nelli. "Oedipus tyrannus in South America". W The Oxford Handbook of Greek Drama in the Americas. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199661305.013.036.

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Griffin, Jasper. "Greek Myth and Hesiod". W The Oxford History Of Greece And The Hellenistic World, 82–106. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192801371.003.0004.

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Abstract Everyone is familiar with some Greek myths: that Oedipus solved the riddle of the Sphinx and married his mother, that the Argonauts sailed away in search of the Golden Fleece. Many poeple know that there is a large modern literature about mythology, from Sir James Frazer’s Golden Bough and Robert Graves’s Greek Myths to the dense and complex accounts given by Claude Levi-Strauss and the Structuralists. Myth is a very attractive subject, but the immense disagreements of the experts show that it is also a very difficult one. It was a brilliant stroke of George Eliot to show the learned Mr Casaubon, in Middlemarch, struggling to write a Key to all Mythologies, swamped and overwhelmed by masses of material on which he could not impose any intelligible order.
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Fiore, Giulia. "Interpreting Oedipus’ Hamartia in the Italian Cinquecento: Theory and Practice (1526–1570)". W Translating Ancient Greek Drama in Early Modern Europe, 227–52. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110719185-013.

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Hutchinson, G. O. "Sophocles, Philoctetes and Oedipus at Colonus". W Motion in Classical Literature, 153–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0006.

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Tragedy presents motion visually, but this is only part of one level of motion. Actual but unseen motion and metaphorical motion interact with stage motion in the rich mythology and language of tragedies. Tragic plots involve motion beyond the stage and are part of larger myths of motion; lyric and speech in Antigone and OT exhibit dense complexes of poetry, events, action. The tragic language of motion is elaborate; each of Sophocles’ plays has its specialities. Tragedy likes speed; but the Philoctetes and OC exploit laborious movement, fraught with long suffering. They survey through motion Philoctetes’ solitary disability and Oedipus’ old age with his daughter. The passages looked at include Philoctetes telling of his endeavours to get food, an attack on stage in which he falls down, the moral and dramatic intricacies of attempted joint motion with Neoptolemus, Antigone being carried off, the winds assailing old age, the failed journey of Oedipus’ son. They manifest: the difficult specifics of movement, graphic stage movement, interweaving of drama and metaphor, groups and individuals, near-authorial lyric, obstinate immorality. Motion in the plays ranges from imagined entry into heaven or the underworld to pain within the body and awkward sitting down. The chamber Philoctetes offers a vast breadth of motion; the fixed OC shows constant fluctuation.
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Borchmeyer, Dieter. "Oedipus and Der Ring des Nibelungen". W Richard Wagner, 287–325. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780193153226.003.0017.

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Abstract One of Germany’s leading Greek scholars, Wolfgang Schadewaldt, has described Wagner’s music dramas as ‘mythic palimpsests’1 in which the underlying script of Greek myth is constantly decipherable beneath the surface layer of Germanic and Christian legend.2 Wagner himself gave frequent emphasis to the importance of Greek myth and Attic tragedy whenever he was discussing the type of subject-matter he felt appropriate to the musical drama. Nowhere is this truer than in his self-apologia, A Communication to my Friends, although it must be added that if, in this essay, he claims to derive the themes of even his Romantic operas from classical archetypes, it is because of his palpable wish to reconcile his earlier ideas with his present beliefs as influenced by Feuerbach and revolutionary ideology.
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Mills, Sophie. "Theseus at Colonus". W Theseus, Tragedy and the Athenian Empire, 160–85. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150633.003.0005.

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Abstract The previous chapter traced the influence of Athenian ideals on Euripides’ reinvention of the myth of Heracles’ madness. Theseus’ encounter with Heracles is almost certainly Euripides’ own extension of older traditions of Athenian hospitality to distressed suppliants, so as to include Greece’s greatest hero in the list of clients of Athens. In Oedipus at Colonus, Sophocles takes the process of Athenian reinvention even further. Although Oedipus, like Heracles, is a well-established figure in Greek mythology, he has no close or early connections with Attica, and the help Athens gives to him has no roots in mainstream Greek tradition. Sophocles’ account may instead be seen as a kind of local variant of the Oedipus story, whose primary interest is for Athenians. Moreover, Oedipus is a figure whose appalling crimes had perhaps previously made any help or resolution of his sufferings unthinkable. The daring of Sophocles in suggesting that he could be welcomed into the city is akin to the daring of Athens in the face of danger that is emphasized in the Athenian encomia. The mythological expansionism which claims for Athens a share in non-Athenian myths, and even resolution of their problems by a virtuous representative of the city is, perhaps, akin to Athenian territorial expansionism and its justification in terms of the justice and Tollµ,a of Athens (cf. Thuc. 2. 41. 4).
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