Artículos de revistas: "ELECTRA"

1

Fishbein, Julie Deane. "Electra". Antioch Review 44, n.º 4 (1986): 436. http://dx.doi.org/10.2307/4611651.

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2

Antonio, Ruz. "ELECTRA". Acotaciones. Revista de Investigación y Creación Teatral 2, n.º 43 (10 de diciembre de 2019): 191–221. http://dx.doi.org/10.32621/acotaciones.2019.43.08.

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3

Hawkins, John A. y Sophocles. "Electra". Theatre Journal 39, n.º 3 (octubre de 1987): 387. http://dx.doi.org/10.2307/3208159.

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4

Coo, Lyndsay. "SHIFTING SISTERHOOD: ELECTRA AND CHRYSOTHEMIS IN SOPHOCLES’ ELECTRA". Ramus 50, n.º 1-2 (diciembre de 2021): 89–108. http://dx.doi.org/10.1017/rmu.2021.8.

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When Sophocles wrote Electra's story, he gave her a sister, Chrysothemis. In their two scenes together, the sisters warn, entreat, cajole, insult, spar with, and proclaim affection for each other. While Electra maintains her public mourning for their father Agamemnon, Chrysothemis chooses not to openly defy his murderers, Aegisthus and their mother Clytemnestra, believing that resistance that accomplishes nothing is futile. Time has not been kind to this more pragmatic sister. In English-language criticism, she has acquired her own epithet, ‘timid’; her femininity has been dismissed as vacuous and her morality as driven by material self-interest. For many critics, she is a shallow and conventional figure whose main purpose is to act as a foil to the exceptional Electra. Since the pairing of a ‘stronger’ and a ‘weaker’ sister recurs in the depiction of Antigone and Ismene in Sophocles’ Antigone, this portrait of two contrasting sisters has been recognised since antiquity as distinctively Sophoclean, and the corresponding reduction of the sister–sister bond to a template has frequently precluded deeper examination of this relationship in both plays.

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5

Lloyd, Michael, Euripides y M. J. Cropp. "Euripides, Electra". Phoenix 44, n.º 2 (1990): 182. http://dx.doi.org/10.2307/1088330.

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6

Agosin, Marjorie, Magaly Alabau y Magaly Alabau. "Electra; Clitemnestra". Chasqui 17, n.º 1 (1988): 122. http://dx.doi.org/10.2307/29740056.

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7

Jefferson, Thomas A. y Nelio B. Barros. "Peponocephala electra". Mammalian Species, n.º 553 (9 de mayo de 1997): 1. http://dx.doi.org/10.2307/3504200.

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8

Rossi, Mary Ann, Euripides y M. J. Cropp. "Euripides: Electra". Classical World 84, n.º 5 (1991): 391. http://dx.doi.org/10.2307/4350858.

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9

Eckard, Bonnie Jean. "Electra (review)". Theatre Journal 55, n.º 1 (2003): 138–40. http://dx.doi.org/10.1353/tj.2003.0018.

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10

Taalman Kip, Maria van Erp. "Sophocles: Electra". Mnemosyne 62, n.º 3 (2009): 481–85. http://dx.doi.org/10.1163/156852509x340174.

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11

Meldy, Sania, Junaidi Junaidi y Essy Syam. "The Tragic Lives of Oedipus Complex and Electra Complex Sufferers in Eugene O’Neill’s Mourning Becomes Electra". Elsya : Journal of English Language Studies 2, n.º 3 (28 de septiembre de 2020): 56–63. http://dx.doi.org/10.31849/elsya.v2i3.4940.

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This study aims to analyse the tragic lives of Oedipus and Electra Complex sufferers in Eugene O'Neill's “Mourning Becomes Electra”. The writer applies psychoanalytical theory which fits with the characters psychological condition. The writer uses a descriptive qualitative analysis as the method to analyse. This study analyses Oedipus and Electra Complexes sufferers from characters in a drama entitled Mourning Becomes Electra that leads tragedy in a family and ends the tragic death. In this analysis, the writer finds out that the psychological conditions of those Oedipus and Electra Complex sufferers contribute to their tragic lives.

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12

Andrade, Marta Mega de. "Electra e Orestes: reconhecimento e espaço na tragédia grega". Revista do Museu de Arqueologia e Etnologia, n.º 20 (9 de diciembre de 2010): 251. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2010.89933.

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Este texto objetiva, inicialmente, levantar alguns aspectos sobre o reconhecimento (anagnórisis) entre Electra e Orestes à luz da Poética de Aristóteles; num segundo momento, refletir sobre o espaço construído onde se passam tais cenas. A cena de reconhecimento entre Electra e Orestes é nos proporcionada pelos três trágicos cujas peças chegaram completas atés nós: Ésquilo (Coéforas), Sófocles (Electra) e a tragédia homônima de Eurípedes (Electra).

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13

Owen, Judith. "ETHICS IN ELECTRA". Classical Review 53, n.º 1 (abril de 2003): 11–13. http://dx.doi.org/10.1093/cr/53.1.11.

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14

Cancela, Elina Miranda. "Electra en Piñera". Classica - Revista Brasileira de Estudos Clássicos 4, n.º 4 (29 de enero de 2018): 203. http://dx.doi.org/10.24277/classica.v4i4.586.

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Este artigo e uma análise da Electra Garrigó de Virgilio Piñera, teatrólogo cubano, e das suas vinculações com o teatro trágico grego, sobretudo com a Electra de Sófocles, acrescida ainda de aproximações com autores modernos que trataram do mesmo tema. Apesar da inspiração grega, Piñera permanece um típico teatrólogo nacional, marcado pelos momentos de grande tensão social da sua época (a tragédia em apreço data de 1941). O conflito produzido pela excessiva autoridade dos pais sobre os filhos, latente neste mito, interessa-o por seu significado dentro da família cubana.

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15

Hays, Kate F. "Electra in Mourning". Psychotherapy Patient 2, n.º 1 (10 de enero de 1986): 45–58. http://dx.doi.org/10.1300/j358v02n01_06.

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16

김기영. "Reception and Transformation of Orestes and Electra Myth: A Comparison Study on Euripides' Electra and Sophokles' Electra". Journal of Classic and English Renaissance Literature 17, n.º 2 (diciembre de 2008): 5–29. http://dx.doi.org/10.17259/jcerl.2008.17.2.5.

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17

Olive, Peter. "Reinventing the barbarian: Electra, sibling incest, and twentieth-century Hellenism". Classical Receptions Journal 11, n.º 4 (26 de agosto de 2019): 407–26. http://dx.doi.org/10.1093/crj/clz012.

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Abstract Since Hugo von Hofmannsthal’s adaptation of Sophocles’ Electra in 1903, numerous dramatic versions of the Electra story have given the heroine a sexually charged relationship with her brother, or even her sister. Despite being an international phenomenon, predating Jung’s coinage of the ‘Electra complex’ by a decade and enduring through more than a century of artistic and institutional trends, this trope has received little scholarly attention. Since the appearance of sibling incest in adaptations of the Electra plays, scholars from multiple disciplines have even begun to read intimations of incest in the ancient dramatic texts. This article will consider the aetiology of a motif that resists being attributed to a single cause.

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18

De Marins, Gabriel. "Eurípides, Electra ”“ versos 290 ”“ 431". Belas Infiéis 9, n.º 2 (30 de marzo de 2020): 95–105. http://dx.doi.org/10.26512/belasinfieis.v9.n2.2020.27311.

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Resumo: Este texto apresenta a tradução de versos do Primeiro Episódio da tragédia grega Electra, de Eurípides, os quais mostram inicialmente um diálogo entre Orestes e Electra, e posteriormente com o marido dela, o Agricultor, além de algumas participações do Coro. A cena ocorre diante da morada simples do casal, um pouco antes de Electra descobrir que Orestes é seu irmão, pois ele se apresentou como um arauto de Orestes quando a encontrou. A primeira fala de Orestes é uma resposta Ã s queixas de Electra sobre a vida. Na participação do Agricultor há um confrontamento de valores, uma vez que os agricultores não pertenciam aos estratos mais respeitáveis da sociedade, mas o personagem Agricultor, apesar de ser pobre, é virtuoso. Orestes ao perceber isso questiona o caráter das pessoas ricas.

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19

Kasimis, Demetra. "ELECTRA LOST IN TRANSIT". Ramus 50, n.º 1-2 (diciembre de 2021): 11–24. http://dx.doi.org/10.1017/rmu.2021.4.

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Like all the tragedies about the House of Atreus, Euripides’ Electra dramatizes the political stakes of familial disorder. In the background lies the legendary story of Agamemnon who sacrificed his daughter Iphigenia and, after returning from Troy, was killed by his wife Clytemnestra and her lover Aegisthus. Electra takes place sometime after that murder and political usurpation, with the couple scrambling to secure their rule against the potential threat of Agamemnon and Clytemnestra's children. When the play opens, Clytemnestra and Aegisthus have already exiled Orestes from Argos and relocated Electra to its border where she lives in a forced countryside marriage to a poor farmer. Over the course of the play, the siblings reunite and plot the murders of their mother and her new husband. By its end, Orestes and Electra are prepared to say goodbye to each other for good and, under the stain of matricide, to embark on their respective forms of movement, wandering for him and a new marriage for her.

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20

Rocha, Roosevelt. "Electra, de Sófocles. Tradução." Dramaturgias, n.º 14 (28 de septiembre de 2020): 228–80. http://dx.doi.org/10.26512/dramaturgias14.34378.

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21

Jae Kyoung Kim. "Electra (review)". Theatre Journal 61, n.º 3 (2009): 472–74. http://dx.doi.org/10.1353/tj.0.0241.

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22

Torrance, Isabelle. "Time in Sophocles’ Electra". Classical Review 55, n.º 2 (octubre de 2005): 413–14. http://dx.doi.org/10.1093/clrevj/bni229.

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23

DAVIDSON, J. F. "HOMER AND SOPHOCLES' ELECTRA". Bulletin of the Institute of Classical Studies 35, n.º 1 (1 de diciembre de 1988): 45–72. http://dx.doi.org/10.1111/j.2041-5370.1988.tb00199.x.

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24

Willink, C. W. "Sophocles, Electra 137–9". Classical Quarterly 47, n.º 1 (mayo de 1997): 299–301. http://dx.doi.org/10.1093/cq/47.1.299.

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The familiar crux in line 139, as obelized by Dawe, disappears in the new Oxford Text, whose editors accept the Triclinian reading . Their short critical note touches only on the metrical issue, citing discussions by Stinton and Diggle, in both of which acceptance of here is cautiously linked with recognition of the same responsion at Philoctetes 209/218 and Euripides, Medea 159/183. The note concludes with a reference (credited to Miss Parker) to p. 75 of an article by K. Itsumi.

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25

COO, LYNDSAY. "A SOPHOCLEAN SLIP: MISTAKEN IDENTITY AND TRAGIC ALLUSION ON THE EXETER PELIKE". Bulletin of the Institute of Classical Studies 56, n.º 1 (15 de mayo de 2013): 67–88. http://dx.doi.org/10.1111/j.2041-5370.2013.00051.x.

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Abstract This article examines the fourth‐century ‘Exeter pelike’ (ARV2 1516.80) by the Jena Painter, situating it within the wider debate over the relationship between vase‐painting and tragic text and performance. The front side depicts the meeting of Orestes and Electra at Agamemnon's tomb, and is commonly interpreted as relating closely to Aeschylus’Choephori. However, a widely‐missed inscription ‘Ism[ene]’ must be an error on the part of the painter for ‘Chrysothemis’, a confusion caused by knowledge of Sophocles. The inclusion of ‘Chrysothemis’ on the Exeter pelike alludes to Sophocles' Electra, but the painting is not a straightforward representation of any one play. Indeed, in tragedy Electra's recognition of Orestes becomes highly allusive, since both Sophocles and Euripides mediate their treatments of this moment through the corresponding scene in Aeschylus. In the same way, the Exeter pelike engages with numerous pictorial and textual traditions to create a complex and allusive re‐telling.

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26

Medina Bravo, Marcela. "Discurso, subversión y rebeldía de género en Infamante Electra de Benjamín Galemiri". Literatura y Lingüística, n.º 24 (18 de mayo de 2015): 61. http://dx.doi.org/10.29344/0717621x.24.97.

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ResumenSe aborda el texto Infamante Electra, de Benjamín Galemiri (chileno), como un discurso dialógico donde se entrecruzan una serie de modalidades lingüísticas transgresoras que se actualizan en el Chile contemporáneo, a partir del conflicto/trágico (Mito de Electra) cuyo escenario despliega una relación entre poder y sexualidad que transforma a la pareja (padre/hija) en un diálogo de incomunicacióntextual que configura un espacio semiótico nuevo, cuyas categorías de análisis crítico pueden relacionarse a cuestiones de género y sociedad. Se establececomo sustento de análisis textual el entrecruce y desplazamiento de la dicotomía sintagma/paradigma.Palabras clave: Género, poder, discurso, texto dramático, intertextualidad,Sintagma/paradigma Discourse, subversion and rebelliousness of gender in Infamante Electra by Benjamín GalemiriAbstractThe text The Infamous Electra, of Benjamin Galemiri (Chilean) is analysed as a dialogic discourse where a number of transgresor linguistic forms are crossed whichare updated in the contemporary Chile, based on the conflict / tragic point view(Myth of Electra) whose stage displays a relationship between power and sexuality that transforms the couple (Father / daughter) into a dialogue of textual confinementwhich sets a new semiotic space, whose categories of critical analysis maybe related to gender and society issues. It is established as a support of the textua lanalysis the shift and the crossover of the sintagm / paradigm dichotomy.Keywords: Gender, power, speech, dramatic text, intertextuality, Syntagm/paradigm Artículo producido para el curso “Retórica feminista”, Programa Magíster en Género, CEGECAL,U. de Chile, 2010.

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27

Anjum, Dr Tasneem. "Electra complex in Sylvia Plath". International Journal of English Literature and Social Sciences 4, n.º 6 (2019): 1652–54. http://dx.doi.org/10.22161/ijels.46.4.

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28

Lewis, Virginia M. "Gendered Speech in Sophocles' Electra". Phoenix 69, n.º 3-4 (2015): 217–41. http://dx.doi.org/10.1353/phx.2015.0009.

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29

Gasti, Helen. "Authorial presence in Sophocles’ Electra". Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 33, n.º 1 (2021): 51–65. http://dx.doi.org/10.25145/j.fortunat.2021.33.03.

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Authorial presence in tragedy, where the poet never speaks in his own person and where there is no master voice to guide our reception, is elusive and implicit. Despite tragedy’s polyphony the purpose of this study is to analyze some sample passages from Sophocles’ Electra for textual traces of its author’s voice as a response to Aeschylus’ Oresteia. Each part of this study is focusing on different aspects of self-reflexive poetics.

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30

Dieckmann, Katherine. "Electra Myths: Video, Modernism, Postmodernism". Art Journal 45, n.º 3 (1985): 195. http://dx.doi.org/10.2307/776853.

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31

Marshall, C. W. y David Kovacs. "Euripides: Suppliant Women; Electra; Heracles". Classical World 93, n.º 2 (1999): 212. http://dx.doi.org/10.2307/4352401.

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32

Kamerbeek, J. C. "Some Notes On Euripides' Electra". Mnemosyne 40, n.º 3-4 (1987): 276–85. http://dx.doi.org/10.1163/156852587x00481.

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33

Hegeler, F., M. C. Myers, M. F. Wolford, J. D. Sethian, P. Burns, M. Friedman, J. L. Giuliani, R. Jaynes, T. Albert y J. Parish. "The Electra KrF laser system". Journal of Physics: Conference Series 112, n.º 3 (1 de mayo de 2008): 032035. http://dx.doi.org/10.1088/1742-6596/112/3/032035.

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34

Wright, Matthew. "The Joy of Sophocles' Electra". Greece and Rome 52, n.º 2 (octubre de 2005): 172–94. http://dx.doi.org/10.1093/gromej/cxi021.

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35

Dieckmann, Katherine. "Electra Myths: Video, Modernism, Postmodernism". Art Journal 45, n.º 3 (septiembre de 1985): 195–203. http://dx.doi.org/10.1080/00043249.1985.10792298.

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36

Mossman, Judith. "Women’s Speech in Greek Tragedy: The Case of Electra and Clytemnestra in Euripides’ Electra". Classical Quarterly 51, n.º 2 (diciembre de 2001): 374–84. http://dx.doi.org/10.1093/cq/51.2.374.

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37

Andújar, Rosa. "UNCLES EX MACHINA: FAMILIAL EPIPHANY IN EURIPIDES’ ELECTRA". Ramus 45, n.º 2 (diciembre de 2016): 165–91. http://dx.doi.org/10.1017/rmu.2016.9.

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At the close of Euripides’ Electra, the Dioscuri suddenly appear ‘on high’ to their distraught niece and nephew, who have just killed their mother, the divine twins’ mortal sister. This is in fact the second longest extant deus ex machina (after the final scene in Hippolytus), and the only scene in which a tragedian attempts to resolve directly the aftermath of the matricide. In this article, I argue that Castor's and Polydeuces’ sudden apparition to Orestes and Electra constitutes a specialised point of intersection between the mortal and immortal realms in Greek tragedy: familial epiphany, an appearance by a god who has an especially intimate relationship with those on stage. Euripides’ focus on the familial divine as a category accentuates various contradictions inherent to both ancient Greek theology and dramaturgy. The Dioscuri are a living paradox, ambiguously traversing the space between dead heroes and gods, managing at the same time to occupy both. They oscillate uniquely between the mortal and immortal worlds, as different sources assign different fathers to each brother, and others speak of each one possessing divinity on alternate days. As I propose, the epiphany of these ambiguous brothers crystallises the problem of the gods’ physical presence in drama. Tragedy is the arena in which gods burst suddenly into the mortal realm, decisively and irrevocably altering human action. The physical divine thus tends to be both marginal and directorial, tasked with reining in the plot or directing its future course. The appearance of the familial divine, on the other hand, can in fact obscure the resolution and future direction of a play, undermining the authority of the tragic gods. In the specific case of Electra, I contend that the involvement of the Dioscuri, who are Electra's and Orestes’ maternal uncles, produces a sense of claustrophobia at the close of the play, which simultaneously denies the resolution that is expected from a deus ex machina while also revealing the pessimistic nature of what is typically considered a reassuringly ‘domestic’ and character driven drama.

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38

Komorowska, Joanna. "SPOKOJNY SEN KLITAJMESTRY ALBO CZEGO „BRAK” W EURYPIDESOWEJ „ELEKTRZE"". Colloquia Litteraria 8, n.º 1/2 (21 de noviembre de 2009): 7. http://dx.doi.org/10.21697/cl.2010.1.01.

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Peaceful dream of Clytemnestra, or what is missing in Euripides’ Electra Clytemnestra’s dream features as an important element of the vengeance dramas of both Aeschylus and Sophocles: still, is remains absent from the Euripidean version. This short essay sketches the possible implications of such an ‘omission’, while simultaneously highlighting the highly contrasting implications of the dream in the Choephorae and in the Sophoclean Electra.

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39

Cancela, Elina Miranda. "La recepción clásica en el teatro cubano del siglo XXI: la “tetralogía” de Yerandy Fleites". Nuntius Antiquus 14, n.º 1 (13 de julio de 2018): 9–30. http://dx.doi.org/10.17851/1983-3636.14.1.9-30.

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Si bien desde mediados del siglo XX aparecen Antígonas, Electras, Medeas en la dramaturgia latinoamericana, ciertamente en el teatro cubano, después de un primer momento en los años sesenta en que se escriben o estrenan un buen número de tales versiones, es a partir de fines de los noventa y, sobre todo, en este siglo XXI, cuando el teatro cubano conoce un segundo auge en relación con la recepción clásica. Destaca el propósito de Yerandy Fleites, un joven dramaturgo, de escribir una especie de tetralogía sobre heroínas clásicas muy jóvenes: Antígona, Electra, Medea e Ifigenia. Comienza este proyecto alrededor de 2005, publica Antígona en 2007; Jardín de héroes, su versión de Electra, en 2009; Un bello sino, en torno a Medea, en 2010; mientras que la aparición de su Ifigenia (tragedia ayer) demora hasta el 2015. Analizar en estas cuatro obras las estrategias de recepción, marcadamente metateatrales, paródicas y de vínculos intertextuales multifacéticos, es el propósito asumido a fin de mostrar cómo se mantiene el diálogo con los clásicos, con variantes en relación a los recursos y perspectivas asumidos generalmente en la pasada centuria, pero con un propósito semejante de apropiación con vista a generar creativamente una nueva versión que no solo plasme sino haga reflexionar sobre inquietudes inherentes al momento y entorno social del autor.

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40

Nazemi, Zahra y Gabriel Laguna Mariscal. "From Hatred to Love: Development of a Literary Topos in Eugene O’Neill’s Mourning Becomes Electra (1931)". Archivum 72 (7 de diciembre de 2022): 399–416. http://dx.doi.org/10.17811/arc.72.1.2022.399-416.

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In the present study, two literary topics of love are introduced and its historical development is traced from the classical tradition to the modern culture. Also being studied is Eugene O'Neill's modern American tragedy, Electra Is Good for Mourning (1931). These topics consist of 'love for hate' and 'jealousy in love'. It is argued that both topics comprise four stages, originate in ancient Greek and Roman literature and evolve into modern culture, as in O'Neill's work, following tradition. Also, despite critics' belief that Electra is fine with mourningO'Neill's is based on the versions of Euripides, Sophocles and Aeschylus on the history of Orestes and Electra, the contextualization of these two topics follows the tradition of Homer's Iliad and Ovid 's Metamorphoses. Finally, this article studies the appearance of each mole on television and in contemporary world cinema, such as the British La Joven Jane Austen (2007), the Iranian Shahrzad Series (2015) and the American La La Land (2016).

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41

Kilmartin, Christopher T. y Daniel Dervin. "Inaccurate Representation of the Electra Complex in Psychology Textbooks". Teaching of Psychology 24, n.º 4 (octubre de 1997): 269–70. http://dx.doi.org/10.1207/s15328023top2404_11.

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In their discussion of Freud's theory, authors of introductory psychology, developmental psychology, and personality textbooks often refer to the female version of the Oedipus complex as the Electra complex. However, it was actually Carl Jung who coined this term, which was later rejected by Freud and even ignored by Jung himself. A survey of a sample of recent psychology textbooks reveals that a substantial number of authors attribute the Electra complex term to Freud. Teachers of psychology would do well to correct this common distortion for students.

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42

Matt Blois. "Electra raises cash to electrify steelmaking". C&EN Global Enterprise 100, n.º 37 (17 de octubre de 2022): 18. http://dx.doi.org/10.1021/cen-10037-buscon8.

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43

Lloyd, Michael. "Realism and Character in Euripides' "Electra"". Phoenix 40, n.º 1 (1986): 1. http://dx.doi.org/10.2307/1088961.

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44

Juffras, Diane M. "Sophocles' Electra 973-85 and Tyrannicide". Transactions of the American Philological Association (1974-) 121 (1991): 99. http://dx.doi.org/10.2307/284445.

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45

Pendery, Steven R. "Archaeological Applications of the Electra-Level". Journal of Field Archaeology 15, n.º 4 (enero de 1988): 479–80. http://dx.doi.org/10.1179/jfa.1988.15.4.479.

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46

Porter, John. "The Electra Plays: Aeschylus, Euripides, Sophocles". Mouseion: Journal of the Classical Association of Canada 10, n.º 1 (2010): 90–94. http://dx.doi.org/10.1353/mou.2010.0022.

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47

Wallenius, Janne, Erdenechimeg Suvdantsetseg y Andrei Fokau. "ELECTRA: European Lead-Cooled Training Reactor". Nuclear Technology 177, n.º 3 (marzo de 2012): 303–13. http://dx.doi.org/10.13182/nt12-a13477.

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48

Junker, William. "Past's Weight, Future's Promise: Reading Electra". Philosophy and Literature 27, n.º 2 (2003): 402–14. http://dx.doi.org/10.1353/phl.2003.0050.

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49

Davies, M. "Euripides' Electra: the recognition scene again". Classical Quarterly 48, n.º 02 (diciembre de 1998): 389–403. http://dx.doi.org/10.1093/cq/48.2.389.

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Wheeler, Graham. "Gender and transgression in Sophocles’ Electra". Classical Quarterly 53, n.º 2 (diciembre de 2003): 377–88. http://dx.doi.org/10.1093/cq/53.2.377.

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