Journal articles: 'Sophocles – Oedipus Rex – English'

1

Green, Janet. "Sophocles' Oedipus Rex." Explicator 52, no. 1 (October 1, 1993): 2–3. http://dx.doi.org/10.1080/00144940.1993.9938718.

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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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Agosto, Mauro. "On Sophocles, Oedipus Rex 258–264." ATHENS JOURNAL OF PHILOLOGY 6, no. 3 (September 6, 2019): 171–88. http://dx.doi.org/10.30958/ajp.6-3-2.

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Cardullo, Bert. "Ibsen’s Ghosts and Sophocles’ Oedipus Rex." Explicator 47, no. 4 (July 1989): 41–43. http://dx.doi.org/10.1080/00144940.1989.11483996.

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Mahony, Patrick. "The Oedipus Rex of Sophocles and psychoanalysis." International Journal of Applied Psychoanalytic Studies 7, no. 4 (August 3, 2010): 290–306. http://dx.doi.org/10.1002/aps.247.

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Whitman-Raymond, Lee. "Defect and Recognition in Sophocles’ Oedipus Rex." American Journal of Psychoanalysis 65, no. 4 (December 2005): 341–52. http://dx.doi.org/10.1007/s11231-005-7886-5.

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Klik, Marcin. "Metamorphoses of Oedipus in Modern French Literature. From an Intellectual Drama to a Psychoanalytical Reflection on Ideal Love." Interlitteraria 25, no. 1 (June 30, 2020): 170–84. http://dx.doi.org/10.12697/il.2020.25.1.15.

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Oedipus Rex, a tragedy created twenty-five centuries ago, is still a source of inspiration for many writers. However, the overall message of modern interpretations of the Oedipus myth differs considerably from the message of Sophocles’ play; these works are no longer the stories of a man punished by gods for his haughtiness (hybris). André Gide modernizes Sophocles’ tragedy, transforming it into a lesson in secular humanism. The play by Jean Cocteau focuses on the transition from ignorance to awareness. Alain Robbe-Grillet creates an anti-story about the contemporary version of Oedipus, whose lot is determined, not by gods, but by chance and unconscious desires. As for the psychoanalytical interpretation of the myth by Jacqueline Harpman, it is first of all the reflection on ideal love, fully realized in an incestuous relationship between the son and his mother.

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Li, Ruoqi. "The Complex Relation of Self-determination to Destiny in Oedipus Tyrannos." English Language and Literature Studies 5, no. 4 (November 30, 2015): 115. http://dx.doi.org/10.5539/ells.v5n4p115.

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<p>Oedipus Rex, one of the three famed Theban tragedies by the Greek dramatist Sophocles, vividly portrays the complex and often troubling theme of humanity’s relationship to fate. By detailing the way in which Oedipus, king of Thebes, is reduced by the cruelty of predestination into a puppet with no semblance of control over the course of his own life, Sophocles seems to cast doubt on, not only the effectiveness, but also the meaning of self-control. Thus, freedom of choice, humanity’s final assertion of independence, appears to dissolve into hollow mockery. But even then, Sophocles confirms the fundamental significance of the self-knowledge and dignity that comes from struggling against tyrannical destiny. It is this dignity that sustains king Oedipus through his terrible ordeal so that he comes out of it tortured but not destroyed. It is also this elevation that adds to a tale of endless victimization a whole new dimension of complexity and imbues the words with a touch of tragic and transfiguring sublimity.</p>

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Kousoulis, Antonis A., Konstantinos P. Economopoulos, Effie Poulakou-Rebelakou, George Androutsos, and Sotirios Tsiodras. "The Plague of Thebes, a Historical Epidemic in Sophocles’ Oedipus Rex." Emerging Infectious Diseases 18, no. 1 (January 2012): 153–57. http://dx.doi.org/10.3201/eid1801.ad1801.

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Barbosa, Tereza Virgínia Ribeiro. "Sófocles, Sêneca e Pasolini." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 99–108. http://dx.doi.org/10.17851/2317-2096.8..99-108.

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Resumo: Vamos refletir sobre o filme Edipo Rei de Pier Paolo Pasolini a partir de cenas conjugadas com a forma e os elementos constitutivos das tragédias de Sófocles e Sêneca; com trechos de poesia antiga e ainda com alguns pontos de estudo de mitologia. Pretendemos também mostrar como Pasolini dialoga com Aristóteles acerca da elaboração do trágico e de seus efeitos.Palavras-chave: tragédia; cinema; Édipo; Sófocles; Sêneca; Pasolini.Abstract: The paper aims at examining, in terms of form and content, Oedipus Rex by Pier Paolo Pasolini in relation to theatrical scenes in tragedies by Sophocles and by Seneca. In addition, parts of old poems and some aspects of mythology will also be considered. The dialogue Pasolini has with Aristotle on the tragic and its effects is examined as well. Keywords: tragedy; cinema; Oedipus; Sophocles; Seneca; Pasolini.

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Manoussakis, John Panteleimon. "Thebes Revisited: Theodicy and the Temporality of Evil." Research in Phenomenology 39, no. 2 (2009): 292–306. http://dx.doi.org/10.1163/156916409x448210.

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AbstractThis essay gives a close reading of Sophocles' Oedipus Rex in light of Schelling's discussion of theodicy as teleology. The article raises the question of the connection between ethics and time, and it argues that ethical categories are really temporal ones, so much so that it would make little sense to posit a choice between good and evil as if there were two simultaneous options. Instead, the story of Oedipus shows us how Thebes is always to precede if one is to reach Colonus, that evil precedes and enables the good.

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Lungeli, Dipak. "Super-Cripple Sights: Disable Heroes in Raymond Carver's Cathedral and Sophocles' Oedipus Rex." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (March 1, 2021): 103–12. http://dx.doi.org/10.3126/sjah.v3i1.35379.

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Robert and Tiresias, disable protagonists respectively of Raymond Carver's Cathedral and Sophocles' Oedipus Rex with their super cripple qualities challenge the imperatives of ableist ideals. Protagonists’ blindness leads them to insight whereas their counter characters’ sight leads them to darkness. Such a role reversal leads to a questioning of dichotomies and establishes an alternative view to the definition of blindness and insight. To support this claim, I use Lennard J. Davis’ concept of disable bodies in literature, Rod Michalko’s notion of fictional explorations of disability, and Nickianne Moody’s model of disability informed criticism backed up by Judith Butler’s notion of body politics, Rosemarie Thompson’s idea of extraordinary bodies, and different critical readings on body. This framework of interpretation validates disable bodies as cultural construction. It also regards literatureas apt venue to challenge culturally assigned definition of ability and disability in favor of new body possibilities. The theoretical framework thus discovers Carver and Sophocles redrawing the concept of able-bodiedness and deeply rooted cultural hierarchies like able/disable, sight/blind, sight/insight, body/mind, visible/invisible, and inside/outside in their literary texts.

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Piskorski, Rodolfo. "Four-footed Weakness: Childhood and Neoteny in Oedipus Rex." Oxford Literary Review 41, no. 2 (December 2019): 258–73. http://dx.doi.org/10.3366/olr.2019.0282.

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That Sophocles’ Oedipus Rex is concerned with childhood is something of a truism, but there are ways in which this holds true that go beyond its contribution to the Freudian theory of infantile sexuality. The riddle posed by the sphinx, whose solving cements Oedipus’ incestuous marriage, foregrounds infancy and its similarities to and differences from other life stages. More than that, it illustrates a difference between humans (whose number of feet changes) and other animals via a recapitulationist perspective that summarises the evolution of the human in one individual's life. However, I argue that, rather than foregrounding childhood, the play explores a peculiar trait of human infancy: neoteny. While this biological term refers to the retention of juvenile characteristics into adulthood, it has been critically deployed not only to suggest that humans are neotenic because their adult state after sexual maturation resembles the young of primates, but also that this resemblance stems from a premature birth and a prolonged, helpless infancy. I read the play as an intervention on the logic of the riddle that opposes neoteny to recapitulation. In the play, the difference between begetting (φύω, phuō) and rearing (τρέφω, trephō) is constantly worked over through the exploration of the difference between biological and adoptive fathers, between nature and nurture, which lays bare the conceptual work of neoteny.

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Song, Han Saem. "A study of the homology between the film Oldboy and Sophocles’ Oedipus Rex." Broadcasting and Arts Research Institute 11, no. 3 (December 31, 2016): 65–88. http://dx.doi.org/10.22534/broad.2016.11.3.65.

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Schroeder, Patricia R. "Oedipus Rex by Sophocles, Italian translation by Guido Paduano, directed by Daniele Salvo." Theatre Journal 66, no. 1 (2014): 128–29. http://dx.doi.org/10.1353/tj.2014.0008.

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Wilson, N. G. "Oedipus Rex - R. D. Dawe: Sophocles, Oedipus Rex. (Cambridge Greek and Latin Classics.) Pp. viii + 260. Cambridge University Press, 1982. £19.50 (paper, £7.50)." Classical Review 35, no. 1 (April 1985): 8–10. http://dx.doi.org/10.1017/s0009840x00107103.

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Pope, Maurice. "Addressing Oedipus." Greece and Rome 38, no. 2 (October 1991): 156–70. http://dx.doi.org/10.1017/s0017383500023548.

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In Oedipus Tyrannus the other characters regularly call Oedipus ‘tyrannos’. My question is what we should call him. Etymologically the obvious translation is tyrant. But the word tyrant suggests a wickedness of heart, or at any rate a total disregard for the wishes of others, that is far from characteristic of the Oedipus that Sophocles portrays. Moreover Oedipus was elected ‘tyrannos’ and refers to his post as ‘tyrannis’. These are two further obstacles since no-one purposely chooses a tyrant to rule over them and in English tyrantship is not a plausible name for a government office. For these reasons – or so one imagines – translators and commentators avoid the etymological derivative. But they do not pursue the logic of usage to the point of adopting any of the standard modern terms for an elected head of state such as president. Instead the title they confer on Oedipus, virtually without exception, is king.

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Mojsik, Tomasz. "HELICONIAN NYMPHS, OEDIPUS’ ANCESTRY AND WILAMOWITZ'S CONJECTURE (SOPH. OT 1108)." Classical Quarterly 69, no. 1 (May 2019): 119–25. http://dx.doi.org/10.1017/s000983881900051x.

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The third stasimon of Oedipus Rex (OT) is the climax of the play, separating the conversation with the Corinthian messenger from the interrogation of the shepherd, so crucial for the narrative. Indeed, the question τίς σε, τέκνον, τίς σ’ ἔτικτε, critical for the plot, comes right at the beginning of its antistrophe. Sophocles, however, offers no easy answer to it. Instead, he provides yet another narrative misdirection, one that—for the last time—suggests that the paths of the king of Thebes and of his predecessor may have been divergent: the possibility that Oedipus’ divine ancestry would question the prophecy of Apollo. After enumerating Pan, Hermes and Apollo himself as possible parents, the song also mentions Dionysus and the ‘Heliconian nymphs’. The reference to Helicon has perplexed the readers for many years, since the text seems to focus on Cithaeron as the ‘birthplace’. As a result, editions and translations prefer the conjecture ἑλικωπίδων (Νυμφᾶν) proposed by U. von Wilamowitz-Moellendorff in 1879, over Ἑλικωνί(α)δων, the form present in all manuscripts. In this paper I argue that an analysis of our sources for Heliconian cults, an assessment of the performative context, and a close reading of the stasimon and its place in the narrative, all suggest that the manuscript reading should be retained.

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Faraone, C. A. "An Athenian Tradition of Dactylic Paeans to Apollo and Asclepius: Choral Degeneration or a Flexible System of Non-Strophic Dactyls?" Mnemosyne 64, no. 2 (2011): 206–31. http://dx.doi.org/10.1163/156852511x505006.

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AbstractThe different epigraphic versions of the so-called Erythraean Paean date from the early fourth century BCE to the mid-second century CE and are generally thought to trace the degeneration of an original monostrophic lyric poem attested in the eponymous late-classical version. I argue that such an approach is inadequate and that the later versions of this poem are witnesses to a hitherto unappreciated genre of paean to Apollo and Asclepius composed almost entirely in dactyls and organized into segments of varying length, which generally begin with a dactylic tetrameter and end with a version of the traditional paeonic cry (the so-called epiphthegma): Παιν or Παιν. The space between the opening tetrameter and the closing cry can, however, accommodate between four to eight additional dactylic feet. The late Hellenistic paean composed in Athens by Macedonicus of Amphipolis is yet another witness to this tradition, which probably dates back at least as early as a famous—albeit almost entirely lost—paean of Sophocles and is reflected in the first two strophes of the parodos of his Oedipus Rex.

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Lloyd-Jones, Hugh. "The Revised Teubner Sophocles - R. D. Dawe: Sophoclis Tragoediae, Tom. I2: Aiax – Electra – Oedipus Rex. Pp. xiv+164. Leipzig: Teubner, 1984. 39 M." Classical Review 36, no. 1 (April 1986): 10–12. http://dx.doi.org/10.1017/s0009840x00104792.

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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (December 2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.

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Sugiera, Małgorzata. "Theatre as Contagion: Making Sense of Communication in Performative Arts." Text Matters, no. 7 (October 16, 2017): 291–304. http://dx.doi.org/10.1515/texmat-2017-0016.

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Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of contagion are to be found in both the fictional world on the stage (at least since Sophocles’ Oedipus Rex) and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You (2010), in order to demonstrate new forms of performativity and (re)presentation.

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GIBERT, JOHN. "(R.D.) Dawe (ed.) Sophocles: Oedipus Rex. Revised edition. Pp. x + 214. Cambridge: Cambridge University Press, 2006 (first edition 1982). Paper, £17.99, US$31.99 (Cased, £45, US$80). ISBN: 978-0-521-61735-2 (978-0-521-85177-0 hbk)." Classical Review 58, no. 1 (January 2008): 12–14. http://dx.doi.org/10.1017/s0009840x07001606.

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"Sophocles’ Oedipus Rex: A Deconstructive Study." Advances in Language and Literary Studies 6, no. 5 (August 17, 2015). http://dx.doi.org/10.7575/aiac.alls.v.6n.5p.9.

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Finglass, Patrick J. "The ending of Sophocles’ Oedipus rex." Philologus 153, no. 1 (January 2009). http://dx.doi.org/10.1524/phil.2009.0004.

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Scheepers, I. "CASA ESSAY: FATE AND DIVINE WORKING IN SOPHOCLES’ OEDIPUS REX." Akroterion 50 (March 30, 2012). http://dx.doi.org/10.7445/50-0-81.

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Librán Moreno, Miryam. "The tragedy of Túrin Turambar and Sophocles' Oedipus Rex in the narrative of J.R.R. Tolkien." Littera Aperta. International Journal of Literary and Cultural Studies, December 30, 2014, 69–101. http://dx.doi.org/10.21071/ltap.v2i2.10825.

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Shaimaa Mohamed Hassanin. "Retracing the Tragic Hero in Sophocles' Oedipus Rex and Philip Roth's The Human Stain: تتبع البطل المأساوي في سوفوكليس الملك أوديب وفيليب روث وصمة عار الإنسان." Journal of Humanities & Social Sciences 3, no. 11 (June 25, 2020). http://dx.doi.org/10.26389/ajsrp.s080719.

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This paper reevaluates the fundamental status of Coleman Silk in Philip Roth’s The Human Stain and Oedipus in Sophocles' Oedipus Rex by testing their characters against Aristotelian tragic hero's elements. In spite of the verifiable comparisons to Oedipus, Coleman is not a neglected figure, but a subverted one that underpins Roth's proposal of "the different nature" of inconceivable postmodern American tragedy. In Philip Roth’s The Human Stain, the protagonist Coleman Silk is implicitly linked to Sophocles' classical figure Oedipus in Oedipus Rex. The plot is interwoven with allusions to Greek tragedies, but in The Human Stain Coleman lacks the stature and the real character of Oedipus. In addition, Coleman lacks, to some extent, the real elements of a tragic hero that constitute the Catharsis: the process of releasing and providing relief; a conflict which raises the question; is Coleman really a tragic hero? According to Aristotle, the tragic hero should experience a dilemma and a massive transformation from valuable standards to lower depth, and this person should suffer particularly after committing a mistake, or even thinking about his past deeds. The tragic hero should be relatively a commendable person whose comeuppance is brought about by his own fallacies which he did not commit out of defect or wickedness, but out of his own serendipity. Following the ancient Greek concept which asserts that fluke is associated with actions, Coleman is a fortuitous man at first, unlike Oedipus, despite being born as a black man. Because of this unlucky fact, he is capable of changing his identity and rising up to the level of preeminence.

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Di Matteo, Piersandra. "Il piede e la sincope Note su Edipo sveglia il tempo di Chiara Guidi." Sciami | ricerche 8, no. 1 (October 31, 2020). http://dx.doi.org/10.47109/0102200113.

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The essay is based on the direct observation of the Edipo sveglia il tempo, a workshop directed by Chiara Guidi with a group of twenty-six teenagers. This Socìetas director, author and actress starts with Oedipus Rex by Sophocles to promote a mythopoeic exercise that suspends the «radical myth» involving custody and deviation, enacting it in a bodily-vocal practice. In this scenic writing, Oedipus’ limp becomes the pivot of a rhythmic dramaturgy with a syncopated gait, able to orient voice, words and movement.

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Beine, Julia Jennifer. "Plautus goes USA: the adaptation of Rudens by the Ladies’ Literary Society of Washington University in St. Louis, Missouri, in 1884." Classical Receptions Journal, June 28, 2021. http://dx.doi.org/10.1093/crj/clab004.

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Abstract This article investigates the first documented performance of a Plautine comedy in Latin in the USA. In 1884, The Ladies’ Literary Society of Washington University in St. Louis, Missouri, staged Plautus’ Rudens in Latin with an all-female cast. This performance offers a unique opportunity to analyse the Society’s understanding and interpretation of Plautus’ play as well as its adaptation for the nineteenth-century stage. Furthermore, the Society provided an English translation for its academic and especially its non-academic audience, evidence of how the Society dealt with the Plautine Latin text. Based on this translation and contemporary newspaper and journal articles, this article outlines the main characteristics of the Society’s adaptation. First, this production merits scrutiny in the historical context of staging ancient Greek and Roman plays in the USA during the late-nineteenth century, since the Society followed the trend, started by Harvard University’s staging of Sophocles’ Oedipus Tyrannus in 1881, of presenting ancient plays ‘authentically’. Nevertheless, the Society seems to have staged this Roman comedy as a feminist response to Harvard’s production of a Greek tragedy. Secondly, the Society modernised Plautus’ comedy by adding strong melodramatic elements, and thirdly, it reflected the contemporary socio-cultural context by alluding to current American concerns.

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Journal articles on the topic 'Sophocles – Oedipus Rex – English'

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