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Journal articles on the topic 'Sophocles. Oedipus Rex'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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2

Cannizzaro, Francesco, Stefano Fanucchi, Francesco Morosi, and Leyla Ozbek. "SKĒPTRON IN SOPHOCLES’ OEDIPVS REX." Classical Quarterly 69, no. 2 (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 language

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3

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

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4

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

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5

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

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6

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

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7

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

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8

Klik, Marcin. "Metamorphoses of Oedipus in Modern French Literature. From an Intellectual Drama to a Psychoanalytical Reflection on Ideal Love." Interlitteraria 25, no. 1 (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

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9

Li, Ruoqi. "The Complex Relation of Self-determination to Destiny in Oedipus Tyrannos." English Language and Literature Studies 5, no. 4 (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 con

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10

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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11

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 (2012): 153–57. http://dx.doi.org/10.3201/eid1801.ad1801.

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12

Lungeli, Dipak. "Super-Cripple Sights: Disable Heroes in Raymond Carver's Cathedral and Sophocles' Oedipus Rex." SCHOLARS: Journal of Arts & Humanities 3, no. 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 Nick

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13

Piskorski, Rodolfo. "Four-footed Weakness: Childhood and Neoteny in Oedipus Rex." Oxford Literary Review 41, no. 2 (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 arg

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14

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

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15

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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16

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 (1985): 8–10. http://dx.doi.org/10.1017/s0009840x00107103.

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17

Mojsik, Tomasz. "HELICONIAN NYMPHS, OEDIPUS’ ANCESTRY AND WILAMOWITZ'S CONJECTURE (SOPH. OT 1108)." Classical Quarterly 69, no. 1 (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 que

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18

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 (1986): 10–12. http://dx.doi.org/10.1017/s0009840x00104792.

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19

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 ve

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20

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

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21

CHO, Jin-Keun. "Instructive Characteristics in Sophocle's Oedipus Rex." SECONDARY EDUCATION RESEARCH 55, no. 2 (2007): 285–319. http://dx.doi.org/10.25152/ser.2007.55.2.285.

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22

Barbosa, Tereza Virginia Ribeiro. "Édipo zorro / Oedipus the Fox." Caligrama: Revista de Estudos Românicos 25, no. 2 (2020): 149. http://dx.doi.org/10.17851/2238-3824.25.2.149-165.

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Resumo: O artigo se dedica a recortar trechos da peça Οἰδίπους τύρρανος, de Sófocles, aqui traduzida como Édipo zorro, e traduzi-los. O leitmotiv que dirige a seleção é o enfrentamento de Édipo, é de difícil tradução. Sófocles explora a potência dos sentidos lexicais e sintáticos da língua grega ao máximo, a começar pelo título que chegou até nós para a peça – que daria um tratado – se o focalizarmos apenas com o adjetivo (que não é adjetivo, mas substantivo utilizado como adjetivo) τύρρανος. A tradução Édipo Rei é neutralizante; a tradução Édipo Tirano é tendenciosa, capciosa e política demai

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23

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 (2008): 12–14. http://dx.doi.org/10.1017/s0009840x07001606.

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24

Banker, Paul V. "Doctorow's Billy Bathgate and Sophocles's Oedipus Rex." Explicator 64, no. 3 (2006): 177–80. http://dx.doi.org/10.3200/expl.64.3.177-180.

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25

Leite, Lettícia B. R. "Oedipus The King: reflecting on anagnórisis in Sophocles’ play." Classica - Revista Brasileira de Estudos Clássicos 21, no. 1 (2008): 71–89. http://dx.doi.org/10.14195/2176-6436_21-1_5.

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26

Aronica, Daniela. "Premonition and consciousness of incest in the remakes of Sophocles’ "Oedipus the King"." Quaderns d’Italià 22 (December 10, 2017): 153. http://dx.doi.org/10.5565/rev/qdi.104.

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27

Chanter, Tina. "What if Oedipus or Polynices had been a Slave?" Janus Head 12, no. 2 (2011): 10–34. http://dx.doi.org/10.5840/jh201112226.

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Examination of Sophocles’ Antigone reveals how the corpse remains a historically, culturally and politically inscribed subject. To leave Polynices’ corpse, by Creon’s decree, to the open air to be consumed by carrion is e!ectively to erase Polynice’s status as an Athenian citizen and transubstantiate the materiality of the corpse into one that is immaterial and non-human – that of a slave. Antigone’s refusal to leave the unburied remains of her brother - a refusal that has been traditionally romanticized as an act of rebellion against authoritarian control - circumscribes and rei”es class boun

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28

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

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29

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

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30

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, № 11 (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

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31

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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32

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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33

Di Matteo, Piersandra. "Il piede e la sincope Note su Edipo sveglia il tempo di Chiara Guidi." Sciami | ricerche 8, no. 1 (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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