Academic literature on the topic 'Oedipus (Greek mythology)'
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Journal articles on the topic "Oedipus (Greek mythology)"
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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, no. 1 (July 1988): 1–10. http://dx.doi.org/10.2190/xap9-uqp1-rnmw-v7r8.
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The Oedipus complex of Freud is based on the inevitability of the tragic fate of a man who fled his home to escape the prophecy of parricide. Thus, he fulfilled it by killing a stranger who proved to be his father. As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son. Where Freud looks to the son, however, I look to the father, who set the tragedy in motion by attempting to murder his infant son. Themes ignored in developmental theory but axiomatic in gerontology are considered in this study of the elder Oedipus. The study begins by noting that Oedipus ascended the throne of Thebes not by parricide but by answering the riddle of the Sphynx and affirming the continuity of the life cycle which his father denied. In the second tragedy of the Oedipus Cycle of Sophocles, Oedipus at Colonus, this affirmation is maintained. As Oedipus the elder accepts the infirmities of old age and the support of his daughter Antigone, Oedipus the king proves powerful up to the very end of his life when he gives his blessing not to the sons who had exiled him from Thebes, but to King Theseus who shelters him in his old age. Thus, the Oedipus cycle, in contrast to the “Oedipus complex,” represents not the unconscious passions of the small boy, but rather the awareness of the life cycle in the larger context of the succession of the generations and their mutual interdependence. These themes are illuminated by a fuller consideration of the tragedy of Oedipus.
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Septiani, Resti Maudina, and 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, no. 1 (June 29, 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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Retno Martini, Laura Andri. "Oedipus Sang Raja dan Bujang Munang: Mitos Peletak Dasar Larangan Incest dalam Masyarakat." Nusa: Jurnal Ilmu Bahasa dan Sastra 13, no. 1 (February 28, 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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Tiedemann, Rolf. "The Women of Trachis Jealousy, Hatred and Revenge in Sophocles' Tragedy Intrafamilial Marriage and the Husbands' Widow's Wills the Famous Oracle." American Journal of Applied Psychology 13, no. 1 (February 21, 2024): 9–19. http://dx.doi.org/10.11648/j.ajap.20241301.12.
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In this tragedy by Sophocles, the real theme is the treatment of "prey women" and their influence on the psychological family situation and society in classical Athens. "The Women of Trachis" as well as "Oedipus Rex" and "Oedipus on Colonus" show what an enormously perceptive, in today's terms, psychologist and sociologist Sophocles was. In the fifth century BC, many wars were waged in Greece and prisoners were turned into slaves. Classical Greece thrived on slavery, which also included so-called prey woman. In The Women of Trachis Sophocles describes the jealousy of a wife, with the resulting actions, when the marriage is overstretched and the jealousy is increased through corresponding insults (over the decades). How hatred and revenge then gain the upper hand, ultimately leading to death. The intra-family marriage policy in Athens, which often leads to emotional and social unhappiness, is also a clear theme in the "Women of Trachis", long before Sophocles' two Oedipus tragedies. In his tragedies, Sophocles dealt with sociological themes and human suffering. The poets changed the mythology according to the requirements of their desired intention of the tragedy. The transformation of the myth consists in its integration into the polis and its new reference systems. The fact that the tragic poet sets the problems of his time in a past contributes to the possibility of the tragedy's reception. In the tragedies Oedipus Rex and Oedipus at Colonus, for example, a reference to the social reality in Athens at the time is assumed. The tragedies that were performed at the Dionysia (festival) are characterized by an interpenetration of present and past. Tragedies were organized as competitions, so that the poets had to take the audience's sensitivities into account. Classical philologists are often prevented from producing realistic text analyses and interpretations by idealizing and glorifying Greek tragedies and thus not taking into account the social customs and laws of the time. If we think, that the Greeks had no interest in such a psychological process as how a decision comes about, we are seriously mistaken and we do not do justice to the great, psychologically astute tragedians. Without a sociological, psychological and medical approach, applied to the tragedies that contain such themes in Sophocles and also Euripides in excellent execution, we will not do justice to these brilliant poets. We are left with interpretations without a sociological and psychological understanding of Greek classicism.
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ШУЛЬЦ, СЕРГЕЙ. "Мотивы древнегреческой мифологии в повести Гоголя Вий." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 171–83. http://dx.doi.org/10.1556/060.2019.64113.
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The facts of Gogol's appeal to the models of classical forms of myth and ritual are interesting not only by themselves but also in the aspect of their relationship with the arsenal of Christian mythology. The fundamental point here is that in light of the historical interpretation of the myth and the Revelation by F. W. J. Schelling, the mythology since its initial stage organically developed to Christianity, to the truths of Revelation (as the historical movement “flowed” into them). The symbolic complex of the story Vij, interlacing with Eros and Thanatos, allows parallels to the myth of Orpheus and Eurydice since in the case of the story Vij and in the case of myth, the motive of prohibition on sight also holds. The philosopher (i.e. the poet in the archaic and romantic notion) Homa Brut comes into contact with the world of death not of his own free will, besides, the panicle Eurydice died because of him. Orpheus partakes of the Dionysian sacraments. A visit to Orpheus of hell equated him, in Christian understanding, with Christ. In Gogol's story Vij, Dionysus and Christ have implicitly come together. The motive of the story Vij for blindness is related to Oedipus's self-blindness motive. Mythological Erinnes, persecuted by Oedipus, are old women, which correlates with one of the chthonic incarnations of the plaque, thereby drawing closer to the goddesses of revenge, punishment, and remorse of conscience. The fact of the final recognition of Oedipus as “holy” is reflected in the potential Christian semantics of the image of Homa as a martyr and passion-bearer. As the winner of the witch, the deliverer of people from her misfortunes and the passion bearer Homa is a Christian ascetic. Against the background of Christian parallels, the second stay of Homa on the farm becomes as if his “second coming”, symbolically comparable to the expected second coming of Christ, who is coming all the time. The terrible glance of Vij and pannochka certainly reminds of the slaying glance of Medusa Gorgon, which forced all living things to petrify. There is pathos of fighting tyranny in ridding the farm from the witch by Homa. Although Homa defends himself first of all in the beating scene, the general social meaning of his action is obvious. The power of the pannochka (she is the daughter of a wealthy sotnik), who for some reason considers himself pious, is not only socio-political but, in the main, existential-anthropological, this domination over man as a species, over man as such. The motives of ancient Greek and in general pagan mythology are closely intertwined in Gogol's story with Christian motives, which formed the unique spiritual and aesthetic synthesis of the story Vij.
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Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.
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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.
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Ermolaeva, Nina L. "From the ancient Greek myth to the Russian literary archetypes in I.A. Goncharov’s novels." Literature at School, no. 5, 2020 (2020): 35–50. http://dx.doi.org/10.31862/0130-3414-2020-5-35-50.
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The article deals with the mythological sub-text as one of the connective means in the novel trilogy by Goncharov. The author of the article assumes that the creative thinking of Goncharov’s is epic and his understanding of world literary types can be seen as the basis for the theory of literary archetypes. The novelty of the approach to the sources is justified by the aim of the article, the latter being to show the reflection of the evolution of the author’s mythological thinking in his creating the literary archetypes by using various mythological and folk sources. Analysis of the mythological sub-text in the novel “A Common Story” allows to say that the author applied mainly the European tradition of the ancient myths, namely the myth of Oedipus to the modern life in Russia. Viewing “Frigate ‘Pallada’ ” the author of the article concludes that Goncharov returned from the world-wide journey “more Russian” than he had been before. Thus in the novels “Oblomov” and “The Precipice” he used not only the European cultural tradition but also the Slavonic mythology and Russian folklore. The result of his turning to the fairy-tale and Russian literature was the appearance of the archetype images of Oblomov and oblomovism and that of gown in his creative work. “The bylina sub-text” in the novel “The Precipice” helps to understand the rivalry of the atheist Mark Volokhov with the proponent of “the old truth” Tushin as the fight of the Russian epic hero with the serpent. The analysis of Goncharov’s articles of 1870s allows one to see his wish to create the archetype images of the characters from the Russian life. Arguing with A.I. Zhuravleva’s opinion that Goncharov did not manage to fulfill this task in “The Precipice”, the author of the article proves that the image of grandmother has come into the national consciousness as an archetype. It has direct connection with the archetype of the village that came into being in the Russian literature of XIX–XX centuries.
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Korkmaz, Vahide. "Footprints of Greek Mythology in Medical Terminology." Eskisehir Medical Journal, Eskisehir City Hospital, July 31, 2022. http://dx.doi.org/10.48176/esmj.2022.81.
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Mitoloji ve bilim arasındaki anlamsal ortaklığa dayanan mitik semboller, bilimsel terminolojide özellikle tıpta geniş bir kullanıma sahiptir. Bir medeniyetin dili olarak mitler hastalığa ilişkin doğaüstü yaklaşımın benimsendiği dönemlerden olan Antik Yunan Uygarlığında, hastalık kavramları ve iyileşme süreçleri üzerinde güçlü bir etkiye sahiptir. Çok sayıda tıbbi terim bu mitolojik figürlerle ilgilidir. Birçok tıbbi terimde yaşadığı görülen Yunan mitolojisinin kahramanlarına ve sıra dışı hikayelerine göz atmak ilgi çekici olacaktır. Bu çalışmada Freud'un Oedipus ve Electra komplekslerinden tıbbı simgelemek için kullanılan yılan metaforuna kadar tıbbın her köşesine ayak basmış Antik Yunan kültürüne ait efsanelerin ve mitolojik karakterlerin modern tıbbın günlük uygulamalarına nasıl ilham verdiğini incelemek amaçlanmıştır.
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AKÇEŞME, Banu. "YUNAN MİTOLOJiSiNDE ATAERKiL PANTEON'DA RAHiM KISKANÇLIĞININ İZLERİ." İnönü University International Journal of Social Sciences (INIJOSS), November 13, 2023. http://dx.doi.org/10.54282/inijoss.1359022.
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Myths provide insight both into the cultural aspects of human societies and the psychological motivations behind human actions, drives, urges, dreams and fantasies. Myths illustrate how the ancient people make sense of their existence, creation, the working of the earth, natural events and catastrophes. They also provide symbolic representations and projections of desired attainments, relations, bodies and institutions in human culture. In this sense, wishfulfillment can be considered one of the fundamental functions of myths. Important psychoanalysts such as Sigmund Freud and Carl Jung also extensively make use of myths to shed light on various aspects of cultural practices, human psyche and behavior. This paper intends to explore the traces of womb envy in Greek mythology since it is one of the fundamental feelings and desires that can be observed in the male psyche. The child-bearing capacity of women, along with the pre-oedipal mother-child relation, has always created anxiety and fear in male deities, which in fact reflect the real life experience. Gods’ desire to possess the ruling power can be seen as an attempt to overcome this fear and make up for their lack of reproductive capacity. This paper will examine the selected myths in a psychoanalytical framework with specific references to Melanie Klein’s and Karen Horney’s concepts of womb envy.
Dissertations / Theses on the topic "Oedipus (Greek mythology)"
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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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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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Lagrou, Sarah. "La création poétique dans le théâtre grec classique ou comment surprendre toujours dans un cadre traditionnel : l’exemple du mythe d’Œdipe dans la tragédie grecque." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30012.
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Cette thèse de doctorat vise, à partir de l'exemple que constitue le traitement du mythe d'Œdipe par les trois dramaturges que sont Eschyle, Sophocle et Euripide, à comprendre comment les tragiques grecs, qui traitaient toujours des mêmes histoires, et suscitaient pourtant l'intérêt du public, ont su renouveler la création théâtrale, en parvenant à ne pas faire les mêmes pièces à partir des mêmes légendes. Certes, la matière mythique n'était pas figée en soi ; toutefois, comme la tragédie était un genre très codifié dans sa structure et relativement limité en termes d’effets visuels, c'est surtout sur le texte même que l'auteur pouvait intervenir, au prix d'un travail toujours renouvelé sur sa langue.C'est donc au texte même des tragédies que cette étude s'attache, texte qui est abordé selon une triple perspective, à la fois herméneutique, philologique et comparatiste, ce qui permet de comprendre non seulement les enjeux profonds de chacun d'eux, mais aussi les variations sur le mythe et les effets ainsi créés. Le corpus, restreint mais raisonnable (Les Sept contre Thèbes d'Eschyle, l'Œdipe Roi, l'Antigone et l'Œdipe à Colone de Sophocle, et les Phéniciennes d'Euripide), est analysé avec rigueur et aussi peu d'a priori que possible. Cette étude permet de mieux comprendre le fonctionnement de la tragédie, ainsi que la façon dont une poétique se renouvelait sans cesse et évoluait de la sorte, en explorant les possibilités que lui offrait sa langue et en travaillant sur les représentations et les contenus traditionnels dont le poète tragique héritait. Ce projet vise ainsi à mieux saisir les ressorts de la création poétique dans un contexte culturel qui permet d’appréhender au mieux les limites entre lesquelles elle est mise en œuvre ; il permettra également d'approfondir la compréhension d'une culture qui prenait plaisir à aller voir des pièces dont elle connaissait déjà la finThe aim of this PhD thesis, based on Aeschylus’, Sophocles’ and Euripides’ treatments of the Oedipus myth, is to understand how Greek tragic playwrights – who aroused the public interest while always dealing with the same stories – managed to reinvent theatre and write new plays out of the same myths. Admittedly, mythical material was not fixed, yet, tragedy was a genre which structure was highly codified, and quite limited in terms of visual effects. Thus, it was mainly within the text itself that authors could intervene by way of an ever-repeated work on their own language. Therefore, it is the texts of tragedies themselves which are the subject of this study, and which will be explored from three different perspectives; hermeneutic, philological and comparative. This not only allows for an understanding of the deeper issues each text tackles, but also of the variations on the myth and the effects they create. The corpus (Aeschylus' Seven against Thebes, Sophocles' Antigone, Œdipus Rex, Œdipus at Colonus, Euripides' Phoenician Women) – limited yet reasonable – will be analysed rigorously and with as little a priori as possible. What is proposed in this study is a better understanding of how the mechanics of tragedy worked, as well as of how part of a poetics could evolve through perpetual renewal, as tragic poets explored the possibilities of their language, worked on representations and traditional materials they had inherited. The aim of this study is to better grasp the means of poetic creation in a given cultural context so as to gain the best possible understanding of the limits within which it took place. It also allows for a deepened understanding of a culture in which people still enjoyed plays while already knowing how they would end
Books on the topic "Oedipus (Greek mythology)"
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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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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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Higgins, Charles. CliffsNotes Sophocles' Oedipus trilogy. Foster City, CA: IDG Books Worldwide, 2000.
Find full textBook chapters on the topic "Oedipus (Greek mythology)"
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Hard, Robin. "Theban mythology from Cadmos to Oedipus." In The Routledge Handbook of Greek Mythology, 331–51. Routledge, 2019. http://dx.doi.org/10.4324/9781315624136-15.
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Griffin, Jasper. "Greek Myth and Hesiod." In 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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Mills, Sophie. "Theseus at Colonus." In 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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Smith, Anthony D. "The Formation of National Identity." In Identity, 129–53. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198235255.003.0006.
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Abstract There is nothing peculiarly modern about the problem of identity. It is almost as old as recorded history. Certainly, the Bible contains many instances of concern with ethnic and social identity, individual and collective. Jacob’s simulation of his brother Esau’s identity, Ruth’s determination to exchange her Moabite for an Israelite identity and Jonah’s assertion of his Hebrew identity despite his refusal to accept his prophetic mission, are among the better-known examples. Ancient Greek mythology, too, reveals a strong interest in problems of social identity; Ion, Theseus, and, in more tragic vein, Orestes all suffer from self-doubt or internal conflicts. Perhaps the most celebrated of these cases was Oedipus, who in the course of Sophocles’ play, runs through several wouldbe identities, only to stand revealed as a parricide, husband of his mother, brother of his sons and daughters, and a Theban after all.
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Oikonomou, Maria. "Manteia, Mediality, Migration." In Classics and Media Theory, 291–312. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846024.003.0012.
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From the Oracle of Dodona to modern GPS, mediation and migration have been closely interrelated. In fact, migration can be conceptualized as passage through a complex field of decisions (junctions, entries, exits, obstacles, connections) whose every bifurcation is coupled to a medium to direct the migrant in her path. This chapter discusses this nexus between manticism and narratives of migration with regard to Greek mythology. In this respect, the shipwrecked alien Odysseus depends on a series of media; he descends to the underworld to consult the seer Tiresias as to how to operate in what Michel Serres calls a precultural topology of seams and fissures (the notorious vagueness of such auguries reflects both the uncertainties of migration and the rate of noise in media transmissions). Similarly, Oedipus’ visit at the Oracle of Delphi constitutes a crucial point in the mythological discourse as well as the protagonist’s topographical parcourse; it transforms the territory into a field of connections, alternatives, decisions, and catastrophes—a ‘tragic landscape’, which George Hadjimichalis’s installation Schiste Odos translates into various techniques of representation (scale models, maps, oil paintings, aerial photographs). Finally, such medializations also touch the migrant’s body. Derrida describes Oedipus at Colonus as a figure of transference and placelessness—marked, in Sophocles, by the unknown location of his grave—who nevertheless allows the founding of a new community, thus exhibiting the foreign as a politically and culturally creative factor.