Relevant bibliographies by topics / Electra (Greek mythology) in literature

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  2. Dissertations / Theses
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Academic literature on the topic 'Electra (Greek mythology) in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Electra (Greek mythology) in literature"

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Apene, Dickson N. "Intertextuality: Allusion, Convention and Transformation in The Oresteia and Mourning Becomes Electra." Global Academic Journal of Linguistics and Literature 4, no. 4 (August 16, 2022): 97–104. http://dx.doi.org/10.36348/gajll.2022.v04i04.004.

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This article aims to show the relationship between the plays of O’Neill and his European counterpart, Aeschylus. O’Neill subscribes to Greek mythology but modifies or transforms it in the American scenario. Our study of the plays has considered the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. Besides, the thematic and linguistic similarities and differences between the works of the European and that of the American author selected have enabled the researcher to have an insight into literary influences and affinities. This article has demonstrated that there is no end in the making of texts, as O’Neill has revisited classical literature to write his play, Mourning Becomes Electra. This paper argues that intertextuality must not be limited to influences as Aeschylus had no direct influence on O’Neill though O’Neill rewrites his play The Oresteia. Both writers have no biographical similarities nor do they come from the same generations. O’Neill alludes to Aeschylus’s Greek mythological form of play writing but transforms it into the American scenario, through American Realism. To analyse these plays, the critical approach used was Postmodernism since interetxtuality is the major tenet of postmodernism. The paper concludes that, although O’Neill subscribes to Greek mythology, he deviates from European playwrights of this dramatic convention. His work has aspects of American Realism, and he is equally a social critic who writes about the ills that plague his society, in order to create awareness in his countrymen.
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Mossman, Judith. "Women’s Speech in Greek Tragedy: The Case of Electra and Clytemnestra in Euripides’ Electra." Classical Quarterly 51, no. 2 (December 2001): 374–84. http://dx.doi.org/10.1093/cq/51.2.374.

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WILMER, STEVE. "Women in Greek Tragedy Today: A Reappraisal." Theatre Research International 32, no. 2 (July 2007): 106–18. http://dx.doi.org/10.1017/s0307883307002775.

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Reacting to the concerns expressed by Sue-Ellen Case and others that Greek tragedies were written by men and for men in a patriarchal society, and that the plays are misogynistic and should be ignored by feminists, this article considers how female directors and writers have continued to exploit characters such as Antigone, Medea, Clytemnestra and Electra to make a powerful statement about contemporary society.
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Nazemi, Zahra, and Gabriel Laguna Mariscal. "From Hatred to Love: Development of a Literary Topos in Eugene O’Neill’s Mourning Becomes Electra (1931)." Archivum 72 (December 7, 2022): 399–416. http://dx.doi.org/10.17811/arc.72.1.2022.399-416.

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In the present study, two literary topics of love are introduced and its historical development is traced from the classical tradition to the modern culture. Also being studied is Eugene O'Neill's modern American tragedy, Electra Is Good for Mourning (1931). These topics consist of 'love for hate' and 'jealousy in love'. It is argued that both topics comprise four stages, originate in ancient Greek and Roman literature and evolve into modern culture, as in O'Neill's work, following tradition. Also, despite critics' belief that Electra is fine with mourningO'Neill's is based on the versions of Euripides, Sophocles and Aeschylus on the history of Orestes and Electra, the contextualization of these two topics follows the tradition of Homer's Iliad and Ovid 's Metamorphoses. Finally, this article studies the appearance of each mole on television and in contemporary world cinema, such as the British La Joven Jane Austen (2007), the Iranian Shahrzad Series (2015) and the American La La Land (2016).
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Bangasin, Alneza M. "The Fridging of Selected Female Characters in Greek Mythology." Journal of Women Empowerment and Studies, no. 26 (October 10, 2022): 8–18. http://dx.doi.org/10.55529/jwes.26.8.18.

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This study deals with the selected female characters from Greek Mythology. The selected female characters are analysed according to the trope Women in Refrigerator. Descriptive qualitative analysis has been employed in this study. The following female characters analysed in this study are Medea, Medusa, Arethusa, Andromeda, Danaë, Daphne, Eurydice, Antigone, Helen, and Cassandra. The aforementioned characters possess the trait of a fridged woman trope. These women have been, in one way, or another, killed, abused, and or depowered to serve the character of a male protagonist thereby reducing their characters as a plot device leaving no room for character development. This study is beneficial to enthusiasts of literature specifically the following: students, educators, and future researchers. This research will help readers to view female characters under the spotlight of the trope, Women in Refrigerator. The researcher suggests that authors be made aware of the aforementioned trope so that they do not compose their characters in this manner.
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Woo, Peter Y. M., Danise Au, Natalie M. W. Ko, Oscar Wu, Emily K. Y. Chan, Kevin K. F. Cheng, Alain K. S. Wong, Ramez Wadie Kirollos, Guilherme Ribas, and Kwong-Yau Chan. "Gods and monsters: Greek mythology and Christian references in the neurosurgical lexicon." Surgical Neurology International 13 (February 25, 2022): 67. http://dx.doi.org/10.25259/sni_70_2022.

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Background: Myths and religion are belief systems centered around supernatural entities that attempt to explain the observed world and are of high importance to certain communities. The former is a collection of stories that belong to a cultural tradition and the latter are organized faiths that determine codes of ethics, rituals and philosophy. Deities or monstrous creatures in particular act as archetypes instructing an individual’s conduct. References to them in Greek mythology and Christianity are frequently manifested in the modern neurosurgical vernacular. Methods: A review of the medical literature was performed using the PubMed and MEDLINE bibliographic databases. Publications from 1875 to 2021 related to neurosurgery or neuroanatomy with the medical subject headings (MeSH) terms mythology, religion, Christianity and Catholicism were reviewed. References pertaining to supernatural beings were classified to either a deity or a monstrosity according to their conventional cultural context. Results: Twelve narratives associated with neurosurgery were identified, nine relating to Greek mythology and three associated with the Christian-Catholic faith. Eight accounts concerned deities and the remaining with monstrous creatures. Conclusion: This article explores the etymology of commonly utilized terms in daily neurosurgical practice in the context of mythology and religion. They reveal the ingenuity and creativity of early pioneers who strived to understand the brain.
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Evangelopoulou, Olympia, and Stelios Xinogalos. "MYTH TROUBLES: An Open-Source Educational Game in Scratch for Greek Mythology." Simulation & Gaming 49, no. 1 (December 26, 2017): 71–91. http://dx.doi.org/10.1177/1046878117748175.

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Background. Educational games are nowadays used for facilitating the teaching and learning process of various subjects. History is one of the subjects that simulations and games are used for promoting active learning and supporting students in comprehending various history-related subjects. Aim. This article reports on a new educational game on Greek mythology, called MYTH TROUBLES, designed and developed from scratch with the aim of supporting primary school students in studying Greek mythology and raising their interest on the subject of history. Method. The article presents the educational rationale and design of MYTH TROUBLES in the context of an educational games design model proposed in the literature. Since the game was implemented with the platform of Scratch and it is available online both for students (or anyone interested in Greek Mythology) and game developers, some information for its implementation is also provided. The results of a pilot evaluation of MYTH TROUBLES with the help of 21 experienced school teachers are presented, along with proposals for improvement and extension of the game. Results. Teachers evaluated positively MYTH TROUBLES in terms of acceptability, usability, utility as an educational tool, as well as its interface and game play and expressed their willingness to use it in the classroom. Conclusions. MYTH TROUBLES is considered appropriate by teachers for supporting the teaching and learning of Greek mythology and assessing its educational value in class is the next step. Scratch is appropriate for implementing such educational games and sharing them with interested players and game developers.
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Steiner, Deborah T. "Stoning and Sight: A Structural Equivalence in Greek Mythology." Classical Antiquity 14, no. 1 (April 1, 1995): 193–211. http://dx.doi.org/10.2307/25000146.

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This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects not only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe.
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Szymańska, Katarzyna. "Geneza mitu superbohatera. Różne oblicza (super)bohaterów w kinematografii, literaturze, Internecie." Kultura Popularna 3, no. 49 (March 31, 2017): 6–13. http://dx.doi.org/10.5604/01.3001.0009.8040.

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The article shows how hero as myth has become a popculture icon. In literature new model of ancient Greece hero represents Percy Jackson from Rick Riordan’s books about Olympians. Movie based on this novel shows how Greek mythology is popular. One of actors who played in this adaptation, Nathan Fillion, played also a hero a few times. These movies brought modern and different kind of superhero, for instance Joss Whedon’s Dr. Horrible Song-Along Blog (2008) or James Gunn’s Super (2010), which is similar to Matthew Vaughn’s Kick-Ass (also 2010). A new hero is now an average person and proves that courage is more important than extrapowers. Blockbuster movies are popular on the net, where photos from scenes become memes. Greek mythology is still present in daily life in new, modern formula.
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Jovanovic, Bojan. "Čajkanović's road from ancient Greek and folk literature to Serbian religion and mythology." Glasnik Etnografskog instituta 56, no. 1 (2008): 37–51. http://dx.doi.org/10.2298/gei0801037j.

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Dissertations / Theses on the topic "Electra (Greek mythology) in literature"

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van, Emde Boas Evert H. "Linguistic studies in Euripides' Electra." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:dbecc2f8-f980-4a33-9fdc-20d8c1329dc5.

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Euripides’ Electra has long been one of the playwright’s most controversial works. This book offers a reading of the play concentrating on its language, which is analysed by applying a variety of modern linguistic approaches: conversation analysis, pragmatic theories of speech acts and inference, politeness theory, the study of the interplay of gender and language, paroemiology, and the study of discourse cohesion. The first three chapters argue for the Peasant, Electra and Orestes, respectively, that their linguistic behaviour constitutes a vital part of their characterisation. The Peasant’s (ch. 1) sturdy morality is established by the way his language becomes more forceful when he touches on ethical questions; it is then tested in his conversations with Electra, where his language is suggestive of a conflict between his morals and his desire to please his royal wife. Electra herself (ch. 2) is characterised initially by the inability to communicate successfully with those around her — a disconnect which is suggestive of the fundamental incongruity of her circumstances. This adds a dimension to her motivations, which, as a force driving Electra’s linguistic behaviour, remain highly stable throughout the play up until the matricide. Another consistent feature of Electra’s language is the way it is patterned by her gender. Orestes’ characterisation in the early part of the play is ingeniously kept to a minimum through his sustained disguise. Various aspects of his language, but particularly his use of gnomai, contribute to that disguise, which involves a suppression of emotion, an avoidance of self-reference, and the exertion of control over the flow and topic of his conversation with Electra. We can only interpret a dramatic text if we know what it says, and if we know who says what. In chapter 4, I argue that the linguistic approaches I adopt can also help us in making a determination about textual-critical problems, particularly concerning the issue of speaker-line attribution (two notorious cases are discussed: 671-84 and 959-87). The final two chapters deal with longer speeches. In the messenger scene (ch. 5), Euripides uses linguistic devices to create an ebb and flow of suspense, and to manipulate audience expectation. In the agon (ch. 6), differences in the way Clytemnestra and Electra structure their speeches, particularly their narrationes, reveal much about their different (and fundamentally irreconcilable) viewpoints and approaches.
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Mills, Sophie. "Theseus and the ideals of Athens in literature from Homer to Euripides." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334163.

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Kobusch, Beate Pio Giovanni Battista. "Das Argonautica-Supplement des Giovanni Battista Pio Einleitung, Edition, Übersetzung, Kommentar /." Trier : WVT, Wissenschaftlicher Verlag, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56679096.html.

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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.

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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.

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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.
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Fisher, Elizabeth A. "Planudes' Greek translation of Ovid's Metamorphoses." New York : Garland Pub, 1990. http://catalog.hathitrust.org/api/volumes/oclc/21077839.html.

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Roos, Bonnie. "Reviving Pygmalion : art, life and the figure of the statue in the modernist period /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045092.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-283). Also available for download via the World Wide Web; free to University of Oregon users.
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Bocksberger, Sophie Marianne. "Telamonian Ajax : a study of his reception in Archaic and Classical Greece." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a9bacb2a-7ede-4603-9e6a-bf7f492332ed.

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This thesis is a systematic study of the representations of Telamonian Ajax in archaic and classical Greece. Its aim is to trace, examine, and understand how and why the constitutive elements of his myth evolved in the way they did in the long chain of its receptions. Particular attention is paid to the historical, socio-cultural and performative contexts of the literary works and visual representations I analyse as well as to the audience for which these were produced. The study is divided into three parts, each of which reflects a different reality in which Ajax has been received (different with respect to time, place, or literary genre). Artistic representations of the hero, as well as his religious dimension and political valence, are consistently taken into account throughout the thesis. The first part - Ajax from Salamis - focuses on epic poetry, and thus investigates the Panhellenic significance of the hero (rather than his reception in a particular place). It treats the entire corpus of early Greek hexameter poetry that has come down to us in written form as the reception of a common oral tradition which each poem has adapted for its own purpose. I establish that in the larger tradition of the Trojan War, Ajax was a hero characterised by his gift of invulnerability. Because of this power, he is the figure who protects his companions - dead or alive - par excellence. However, this ability probably also led him to become over-confident, and, accordingly, to reject Athena's support on the battlefield. Hence, the goddess's hostility towards him, which she demonstrated by making him lose the reward of apioteia (Achilles' arms). His defeat made Ajax so angry that he became mad and committed suicide. I also show how this traditional Ajax has been adapted to fit into the Iliad's own aesthetics. The second part - Ajax in Aegina - concentrates on the reception of Ajax in the victory odes of Pindar and Bacchylides for Aeginetan patrons. I argue that in the first part of the fifth century, Ajax becomes a figure imbued with a strong political dimension (especially with regard to the relationship between Athens and Aegina). Accordingly, I show how the presence of Ajax in Pindar's and Bacchylides' poems is often politically charged, and significant within the historical context. I discuss the influence this had on his representation. Finally, the third part moves to Athens, as I consider Ajax's reception during three distinct periods: the sixth century, the first half of the fifth century, and finally the rest of the classical period. I equally insist on the political dimension of the figure. I demonstrate that his figure undergoes a shift of paradigm in the early fifth century, which deeply affects his representation. By following in the footsteps of Ajax, this study prompts a series of reflections and comments on each of the works in which the hero features as well as on the relationship of these works to the historical context in which they were produced.
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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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Guardo, Siino Lina 1936. "Il mito classico nell'opera di Cesare Pavese." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39481.

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In the first chapter we intend to present, although in a restricted sense, some of the positions of the most recent critics, which will allow us to determine the meaning of our Author.
The next chapter is mainly dedicated to giving information which establishes the relationships between the most important mythological traditions and classical works. Such information will serve to find and establish the components of the Pavesian culture.
Cesare Pavese was born in Piemonte, Italy, in 1908, he lived in the historical period during which fascism and nazism triumphed and through all the horrors of the immediate after-war. Pavese's incapacity to be concretely active in the political field brings him to relive, in his writings, the ancient Italian cult of the Evocativo. This technique of his is a hermetic method of going through with his ethical social mission. To evoke a god in a moment of national crisis is a traditionally Italian ritual; while the invocation to a God or a Muse is also part of the literary tradition. The classicism of Pavese is now recognized by different critics. Their basis for this decision is his work Dialoghi con Leuco. However, our attention is more focused on the romance Il diavolo sulle colline which occupies the central part of the trilogy La Bella Estate.
This text Il diavolo sulle colline contains many meanings which requires different approaches--such as the cultural precedents of other authors, and even those of Pavese himself--to decipher. The many messages in this work can all be traced back to the concept of death and rebirth. Pavese uses themes which are beloved to Dante and the humanists, who were themselves inspired by the great Greek and Latin authors.
And thus, we are left wondering whether Il diavolo sulle colline was conceived according to the norms of the classical tragedy, which was based on the celebrations in honor of the god Dionisus (the Hellenic demon venerated by the Latins under the name of Bacchus, and affiliated with an old Italian divinity whose symbolic name was Liber Pater). Poli, a dominating figure in Il diavolo sulle colline could be the double of this god. Our discussion will therefore be founded on the testimony of mythographers.
From a methodological point of view, our analysis will not take into account the chronological sequences, but rather the themes which imply the operation of segmenting the text.
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Books on the topic "Electra (Greek mythology) in literature"

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Underiner, Tamara L. Euripides' Medea and Electra. Piscataway, N.J: Research & Education Association, 1995.

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Evrard, Franck. Electre: De Sophocle à Giraudoux. Paris: Bertrand-Lacoste, 1997.

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Luschnig, C. A. E. The Gorgon's severed head: Studies in Alcestis, Electra, and Phoenissae. Leiden: E.J. Brill, 1995.

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Euripides. Medea: Hippolytus ; Electra ; Helen. Oxford: Clarendon Press, 1997.

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Euripides. Medea: Hippolytus ; Electra ; Helen. Oxford: Oxford University Press, 1998.

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L' insignifiance tragique: "Les Choéphores" d'Eschyle, "Electre" de Sophocle, "Electre" d'Euripide. Paris: Gallimard/Promeneur, 2001.

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Pierre, Brunel, ed. Le mythe d'Electre. 3rd ed. Paris: H. Champion, 1995.

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Criscuolo, Ugo. Lettura dell'Elettra di Sofocle. Napoli: M. D'Auria, 2000.

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Walton, J. Michael. Greek theatre practice. London: Methuen Drama, 1991.

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Electra and the empty urn: Metatheater and role playing in Sophocles. Chapel Hill: University of North Carolina Press, 1998.

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Book chapters on the topic "Electra (Greek mythology) in literature"

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Gottesman, Rachel. "The Unpardoned Gaze: Forbidden Erotic Vision in Greek Mythology." In Sensational Pleasures in Cinema, Literature and Visual Culture, 21–34. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137363640_2.

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In 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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Zeitlin, Froma I. "The Argive Festival of Hera and Euripides’ Electra." In Greek Literature, 265–89. Routledge, 2018. http://dx.doi.org/10.4324/9780203055892-12.

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"Greek Mythology in Israeli Children’s Literature." In Our Mythical Childhood... The Classics and Literature for Children and Young Adults, 307–32. BRILL, 2016. http://dx.doi.org/10.1163/9789004335370_022.

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"3 A New Greek Imperial Mythology." In The Danielic Discourse on Empire in Second Temple Literature, 52–77. BRILL, 2017. http://dx.doi.org/10.1163/9789004331310_004.

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Brown, Sarah Annes. "'Hail, Muse! Et Cetera'': Greek Myth in English and American Literature." In The Cambridge Companion to Greek Mythology, 425–52. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521845205.017.

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Brumble, H. David. "Let Us Make Gods in Our Image: Greek Myth in Medieval and Renaissance Literature." In The Cambridge Companion to Greek Mythology, 407–24. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521845205.016.

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Kirichenko, Alexander. "General Introduction." In Greek Literature and the Ideal, 1—CI.P43. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866707.003.0001.

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Abstract The General Introduction begins by arguing that one of the main functions of Greek mythology consisted in translating the political geography of Greece into narrative terms—into a network of crisscrossing storylines that imposed order on what would otherwise be a cognitively unwieldy territory. It proceeds to theorize what the book’s title describes as “the ideal.” Focusing on the Iliad, the chapter demonstrates that one cannot perform an intentional action unless one pictures an ideal reality in which that action has already been performed and that the ability to construct ideal realities is crucial for the functioning of such pre-literary instruments of intentionality as weapons, rituals, and spoken language. It concludes by drawing an analogy between the modus operandi of these instruments of intentionality and the ideal realities that, in Greek literature, function as matrices for collective intentional actions and which, therefore, endow the imaginary geography of the Greek world with a sense of purposeful structure.
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"‘His Greek Materials’: Philip Pullman’s Use of Classical Mythology." In Our Mythical Childhood... The Classics and Literature for Children and Young Adults, 267–90. BRILL, 2016. http://dx.doi.org/10.1163/9789004335370_020.

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10

Bowie, Angus M. "Fate and Authority in Mesopotamian Literature and the Iliad." In Gods and Mortals in Early Greek and Near Eastern Mythology, 243–61. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108648028.018.

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Conference papers on the topic "Electra (Greek mythology) in literature"

1

Pan, Jie. "Research on the Influence of Greek Mythology on Anglo - American Language and Literature." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.297.

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2

Liu, Hong. "An Analysis of the Enlightenment of Greek and Roman Mythology to English Language and Literature." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.95.

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