Relevant bibliographies by topics / Oedipus (Greek mythology) Literature

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  2. Dissertations / Theses
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Academic literature on the topic 'Oedipus (Greek mythology) Literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Oedipus (Greek mythology) Literature"

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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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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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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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Goldhill, Simon. "The Ends of Tragedy: Schelling, Hegel, and Oedipus." Publications of the Modern Language Association of America 129, no. 4 (October 2014): 634–48. http://dx.doi.org/10.1632/pmla.2014.129.4.634.

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This article compares and contrasts how the texts of Greek tragedy thematize ending and how German idealism, especially Hegel and Schelling, constructed a theory of ending in relation to Greek tragedy. In particular, through Hegel's and Schelling's paradigmatic readings of Oedipus, the article demonstrates a deep-seated commitment to a Protestant Christian teleology that continues, unrecognized, to influence modern readings of Greek tragedy.
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Alfonzo, Bruno D. "El fratricidio: antecedentes épicos y derivaciones trágicas de un tópico resemantizado en la figura del exilio edípico en Fenicias de Eurípides." Nova Tellus 39, no. 1 (January 27, 2021): 45–70. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27543.

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The following work deals with fratricide as a topic in Western culture and its role in literature from the different approaches in modern times. The paper focuses on the delimitation of the topic within Greek literature through the evolution of Oedipus’ offspring’, from Archaic Greek epic to tragedy. Thus, it starts contrasting the mythical elements that both, epic and tragedy, display as a support of each story. My hypothesis is fratricide of Eteocles and Polynices becomes a punishment to Oedipus through his exile, and that its consummation is in Euripides’ Phoenissae, which I conclude through a comparative study of the sources.
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Cannizzaro, Francesco, Stefano Fanucchi, Francesco Morosi, and Leyla Ozbek. "SKĒPTRON IN SOPHOCLES’ OEDIPVS REX." Classical Quarterly 69, no. 2 (November 12, 2019): 515–22. http://dx.doi.org/10.1017/s0009838819000909.

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In Sophocles’ Oedipus Coloneus, after laying hands on Antigone and Ismene, Creon ridicules Oedipus by saying these words (OC 848–9):οὔκουν ποτ’ ἐκ τούτοιν γε μὴ σκήπτροιν ἔτιὁδοιπορήσῃς.Then you shall never more walk with the aid of these two props!It is possible that Creon is here alluding to Oedipus’ actual appearance throughout the play. As far as we know, Oedipus comes on stage with no walking stick, and uses Antigone and Ismene as a crutch while walking. Creon's comparing Oedipus’ daughters to a crutch, however, is also metaphorical. Such a metaphor is quite common in some modern languages (for example in Italian, ‘bastone della vecchiaia’, or in French, ‘bâton de vieillesse’), but was known by ancient Greek poetry as well. In Euripides’ Hecuba, for instance, Hecuba depicts her daughter Polyxena as her crutch (281 βάκτρον).
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Zelenak, Michael X. "The Troublesome Reign of King Oedipus: Civic Discourse and Civil Discord in Greek Tragedy." Theatre Research International 23, no. 1 (1998): 69–78. http://dx.doi.org/10.1017/s030788330001823x.

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Greek tragedy was created under a unique and very unusual set of circumstances. What we today call Greek tragedy was not really ‘Greek’ but specifically Athenian. It articulated Athenian values, celebrated Athenian institutions, debated Athenian problems. Despite the undisputed artistic achievements of the great tragedians, the primary motives behind the creation and production of classical Greek tragedy were not artistic or literary, but social and political. Greek tragedies were contemporary and topical civic spectacles, and a central component of Athenian civic life and political discourse. Aristotle identified this ‘political’ aspect of classic Greek tragedy as its distinguishing feature by noting that ‘the earlier poets [Aeschylus, Sophocles and Euripides] made their characters talk “politically” [politikos], the present-day poets rhetorically’.
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Ley, Graham. "On the Pressure of Circumstance in Greek Tragedy." Ramus 15, no. 1 (January 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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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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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 "Oedipus (Greek mythology) Literature"

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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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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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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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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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Books on the topic "Oedipus (Greek mythology) Literature"

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

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Sophocles: Oedipus tyrannus. Cambridge: Cambridge University Press, 2009.

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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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Harold, Bloom. Sophocles' Oedipus Rex. New York: Chelsea House Publishers, 1988.

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Higgins, Charles. CliffsNotes Sophocles' Oedipus trilogy. Foster City, CA: IDG Books Worldwide, 2000.

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Sophocles' the Oedipus trilogy. Piscataway, N.J: Research & Education Association, 1996.

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Pommaux, Yvan. Oedipus: Tragic hero. New York: Toon Books, 2015.

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Cardamone, Alfonso. Sui confini: Rilettura di Edipo. Palermo: Papageno, 2001.

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Cardamone, Alfonso. Sui confini: Rilettura di Edipo. Palermo: Papageno, 2001.

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Book chapters on the topic "Oedipus (Greek mythology) 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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Knox, Bernard M. W. "Why is Oedipus Called Tyrannos?" In Greek Literature, 107–12. Routledge, 2018. http://dx.doi.org/10.4324/9780203055892-6.

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Slatkin, Laura. "Oedipus at Colonus: Exile and Integration." In Greek Literature, 146–57. Routledge, 2018. http://dx.doi.org/10.4324/9780203055892-8.

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Edmunds, Lowell. "The Cults and the Legend of Oedipus." In Greek Literature, 425–42. Routledge, 2018. http://dx.doi.org/10.4324/9780203055892-22.

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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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"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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Hutchinson, G. O. "Sophocles, Philoctetes and Oedipus at Colonus." In 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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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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Conference papers on the topic "Oedipus (Greek mythology) Literature"

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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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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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