Oedipus Complex in Literature Works
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
A Psychoanalytic Reading of Hamlet
A Psychoanalytic Reading of Hamlet William Shakespeare's Hamlet is different from other Elizabethan revenge plays in the sense that the playwright did put much effort in depicting the psychological make-up of his hero Hamlet. The way Shakespeare portrays the psychological complexities of Hamlet, the play has become a lucrative text to the critics to see through the psychoanalytic lens. Analysis of Hamlet using psychoanalytic criticism reveals the inward states of Hamlet’s mind. Among the various aspects of Hamlet’s character, the thing that instantly draws our attention is his relation with his mother Getrude. It is here the psychoanalytic ckritics opine that Hamlet has an Oedipus Complex to his mother. Freud developed the theory of Oedipus complex, whereby, says Freud, the male infant conceives the desire of eliminate the father and become the sexual partner of the mother. Hamlet, too, has several symptoms to suffer from Oedipus Complex. Hamlet’s Oedipus Complex: A fundamental basis for all of Freudian psychology resides in the Oedipal feelings which Freud believed are common to all male children. The major psychological distinction between one person and another was said to come from the way the person handled those feelings and the way that handling was represented in everyday life( how the hell do you write such nonsense sentences?). Freud is categorical about the existence of the Oedipal impulse “It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. Our dreams convince us that that is so. -
About Psychoanalysis
ABOUT PSYCHOANALYSIS What is psychoanalysis? What is psychoanalytic treatment for? Freud’s major discoveries and innovations • The Unconscious • Early childhood experiences • Psychosexual development • The Oedipus complex • Repression • Dreams are wish-fulfilments • Transference • Free association • The Ego, the Id and the Super-Ego Major discoveries and additions to psychoanalytic theory since Freud: the different strands and schools within psychoanalysis today • Classical and contemporary Freudians • Sándor Ferenczi • Ego-Psychology • Classical and contemporary Kleinians • The Bionian branch of the Kleinian School • Winnicott’s branch of the Object-Relations Theory • French psychoanalysis • Self-Psychology • Relational Psychoanalysis The core psychoanalytic method and setting • Method • Setting Various Psychoanalytic Treatment Methods (adult, children, groups, etc) • Psychoanalysis • Psychoanalytic or psychodynamic psychotherapy • Children and adolescents • Psychoanalytic psychodrama • Psychoanalytic Couples- and Family-Psychotherapy • Psychoanalytic Groups Psychoanalytic training Applied psychoanalysis The IPA, its organisation and ethical guidelines Where to encounter psychoanalysis? What is psychoanalysis? Psychoanalysis is both a theory of the human mind and a therapeutic practice. It was founded by Sigmund Freud between 1885 and 1939 and continues to be developed by psychoanalysts all over the world. Psychoanalysis has four major areas of application: 1) as a theory of how the mind works 2) as a treatment method for psychic problems 3) as a method of research, and 4) as a way of viewing cultural and social phenomena like literature, art, movies, performances, politics and groups. What is psychoanalytic treatment for? Psychoanalysis and psychoanalytic psychotherapy are for those who feel caught in recurrent psychic problems that impede their potential to experience happiness with their partners, families, and friends as well as success and fulfilment in their work and the normal tasks of everyday life. -
Recognizing Female Desire and Subjectivity in the Oedipus Complex
Jenna Davis 1 Beyond Castration: Recognizing Female Desire and Subjectivity in the Oedipus Complex Je=aDavis Critical Theory Swathmore College December 2011 Jenna Davis 2 CHAPTER 1 Argument and Methodology Psychoanalysis was developed by Austrian physician Sigmund Freud in the late nineteenth and early twentieth centuries. One of Freud's most celebrated theories was that of the Oedipus complex, which explores the psychic structures that underlie sexual development. In the following chapters I will be examining the Oedipal and preoedipal stages of psychosexual development, drawing out their implicit gendered assumptions with the help of modern feminist theorists and psychoanalysts. I am pursuing a Lacanian reading of Freud, in which the biological roles of mother and father are given structural importance, so that whomever actually occupies these roles is less important than their positional significance. After giving a brief history of the evolution of psychoanalytic theory in the first chapter, I move on in the second chapter to explicate Freud's conception of the Oedipus complex (including the preoedipal stage) and the role of the Oedipal myth, making use of theorist Teresa de Lauretis. In the third chapter, I look at several of Freud's texts on femininity and female sexuality. I will employ Simone de Beauvoir, Kaja Silverman and de Lauretis to discuss male and female investments in femininity and the identities that are open to women. After this, Jessica Benjamin takes the focus away from individuals and incorporates the other in her theory of intersubjectivity. I end chapter three with Helene Cixous, Julia Kristeva and Luce Irigaray, who all attest to the necessity of symbolic female representation--Cixous proposes a specifically female manner of writing called ecriture feminine, Kristeva introduces the semiotic realm to contend with Lacan's symbolic realm, and Irigaray believes in the need for corporeal Jenna Davis 3 representation for women within a female economy. -
DOCID: 3700821 Communications Security and the Problem of Hamlet
.DOCID: 3700821 UNCLASSIFIED Communications Security and the Problem of Hamlet: To Be or Not to Be DANIELJ. KNAUF Editor's Note: Mr. Knauf presented this paper at the conuention of the Armed Forces Communications Electronics Association (AFCEA) in Anaheim, California, on 29 January 1986. We believe that Mr.Knauf 's comments on communications security from the perspective ofa Shakespearean tragedy will be of interest to many ofour readers. 1. INTRODUCTION At risk of offending the many serious students oi Shakespeare, all English majors, and assorted other literati, I should like to examine the communications security of the United States against a slightly unusual backdrop: the tragic story of Hamlet, Prince ofDenmark. William Shakespeare, aft.er all, begins this psychologico.l drama with two words of special interest to those of us in the telecommunications business: "Who's there?" asked by a soldier named Bernardo. The guard to whom he addresses this question, Francisco, has obviously been briefed on proper challenge-and-reply authentication procedures (i.e., that the called party must always initiate the challenge), and stoutly replies: Nay, answer" me: stand, and unfold yourself. Fortunately for Bernardo, they are using an easy-to-remember if not-very- secure password ("Long Live the King"), and so we are allowed to enter into one of the greatest plays ever written - one which adds to its greatness by clearly showing the consequences of poor communications security (Comsec). We may admire, for example, Hamlet's use of Comsec as a "force multiplier" in his neat disposal of that treacherous duo, Rosencrantz and Guildenstern, as he tells his friend, Horatio, in Act V: Scene 2. -
Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. -
Antigone's Line
Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1. -
Antigone Introductory Lecture Notes Greek Drama and the Elements of Tragedy
Antigone Introductory Lecture Notes Greek Drama and the Elements of Tragedy Understanding Greek Theatre I. The Festival of Dionysus Dionysus - Festival of Dionysus - II. Conventions of Greek Drama Actors - Chorus - o Functions Costuming Scenery and Action Composition and Structure o Composition . o Structure . Prologue - . Parados - III. Tragedy Tragedy: Aristotle o Aristotle’s Unity of Time, Place, and Action . Time: . Place: . Action: o Action of the play arouses extreme pity and fear in the audience – pity for the protagonist and a sympathetic fear. (Tragedy cont.) o Purpose of tragedy: o Catharsis - Tragic Hero o Hamartia: o Paripateia: The Fall Revelation IV. Sophocles and the Oedipus Myth Sophocles Notes on Greek Burial Traditions: The Oedipus Myth o King Laius rules Thebes with his queen, Jocasta. An oracle prophesies that his son will grow to kill him, so Laius pierces his infant son’s ankles and feet and orders Jocasta to kill him. She cannot, so she sends a servant to do it, who leaves him for dead in the mountains. o The infant is found by a servant of the King of Corinth and is then raised by the King and Queen of Corinth, who name him Oedipus (meaning “swollen foot”). o When Oedipus is a young man, an oracle tells him that he will kill his father and marry his mother so, to try to escape his fate, he flees Corinth. Along the road, he gets into an argument with a stranger and kills him. That stranger is Laius. Part 1 of the prophecy is fulfilled. o Oedipus reaches Thebes, where a sphinx is plaguing the city, but will stop if someone answers a riddle. -
Oedipus Myth Inadequate and I Put Forward an Alternative Hypothesis of Social Survival, Based on the Demands of Societal Functioning
Benin and Thebes: Elementary Forms of Civilization PETER P. EKEH This chapter deals with comparative themes in Oedipal myths. Oedipal myths in classical Greek city-state civilization will be compared with Oedipal myths in Benin city-state civilization in Africa. I use this comparative strategy in order to shed light on the functioning of elementary city-state civilizations and to generalize from the elementary forms of civilization to the dynamics of more complex modern forms of civilization. In doing so, I find Freud's on or publication of and Fromm's interpretations of the Oedipus myth inadequate and I put forward an alternative hypothesis of social survival, based on the demands of societal functioning. The comparison of Greek city-state civilization with their counter parts outside the Euro-America cultural matrix runs against stand personal use only. Citati ard practice. It is fashionable in Western scholarship to trace the rums. Nutzung nur für persönliche Zwecke. origins of Western culture and society to Greek city-state civiliza tion. In sociology, for example, Talcott Parsons (1966) recently tten permission of the copyright holder. characterized ancient Greece as a "seed bed" society on which modern Western institutions grew. Equal, ifnot greater, importance • is assigned by historians and philosophers to the significance of Greek city-state civilization for the evolution of modern Western ; culture. While such common tendency of linking Greek city-state i civilization to the characteristics of modern Western culture seems generally beneficial to our understanding of modern institutions and material prohibited without express wri express without prohibited material Propriety of the Erich Fromm Document Center. -
Antigone, by Sophocles
Antigone, by Sophocles In A Nutshell Sophocles is considered one of the great ancient Greek tragedians. Among Sophocles's most famous plays are the three parts of the Oedipus trilogy: Oedipus the King, Oedipus at Colonus, and Antigone. These plays follow the fall of a great king, Oedipus, and later the tragedies that his children suffer. The Oedipus trilogy has had a wide-reaching influence and is particularly notable for inspiring Sigmund Freud’s theory of the "Oedipus Complex," which describes a stage of psychological development in which a child sees their father as an adversarial competitor for his or her mother’s attention (or in non-psychology speak, it’s the kill-the-father-sleep-with-the-mother complex). Each play of the Oedipus trilogy offers a different spin on the Oedipus myth that Sophocles’s audience would have been familiar with. The plays were not performed together, but rather were performed separately, at the time each was written: Antigone in 440 B.C., Oedipus the King in 430 B.C., and Oedipus at Colonus in 401 B.C. Although the Oedipus plays were performed separately, they are largely coherent thematically when considered together. Instances of self-injury and suicide in Oedipus the King, for example, suggest the tenacity of life in a world controlled by fate, but considered more broadly in the context of all three plays, the prevalence of suicide and self-injury also suggests the sense of profound desperation and need for control experienced by humans controlled by fate. Despite their general coherence, some discrepancies do exist. -
Sophocle's ANTIGONE Adapted by Lewis Galantiere from the Play By
Sophocle’s ANTIGONE Adapted by Lewis Galantiere From the play by Jean Anouilh Re-imagined for 5 Actors by Christopher Scott Dramatis Personae: Chorus/ Nurse Antigone Ismene/ Messenger Haemon/ The Guard Creon The Royal Palace in Thebes Chorus Well, here we are. These people that you see here are about to act out for you the story of Antigone. (He looks at Antigone,) That dark-haired girl sitting by herself, staring straight ahead, seeing nothing, is Antigone. She is thinking. She is thinking that the instant I finish telling you who's who and what's what in this play, she will burst forth as the dark, tense, serious girl, who is about to rise up and face the whole world alone—alone against the world and against Creon, her uncle, the King. Another thing that she is thinking is this: she is going to die. Antigone is young. She would much rather live than die. But there is no help for it. When you are on the side of the gods against the tyrant, of Man against the State, of purity against corruption—when, in short, your name is Antigone, there is only one part you can play; (Chorus turns and looks at her) and she will have to play hers through to the end. Mind you, Antigone doesn't know all these things about herself. I know them because it is my business to know them. That's what a Greek Chorus is for. All that she knows is that Creon won't allow her dead brother to be buried; and that despite Creon, she must bury him. -
The Story of Oedipus: Prequel to Antigone
The Story of Oedipus: Prequel to Antigone • LAIUS is left an orphaned minor by his father Labdacus • AMPHION AND ZETHUS rule Thebes (Build the Cadmeia) and exile Laius • Laius goes to live in Elis (PISA) with King Pelops (son of Tantalus son of Zeus) • Laius becomes very good friends with young Chrysippus, youngest child of King Pelops • Laius and Chrysippus run away together (or Laius rapes Chrysippus). Pelops curses Laius. • Laius returns to Thebes and becomes King • Laius marries his cousin Jocasta, but they are childless • Laius goes to Delphi and intends to ask Apollo's advice; Apollo announces that Laius will have a child who will kill him • Laius and Jocasta have a baby son (Oedipus) whom they plan to kill. The royal shepherd is ordered to dispose of the child on Mt. Cithaeron. Instead he gives Oedipus to the royal Corinthian shepherd. • The Royal Corinthian Shepherd takes the child back to the childless king and queen of Corinth (Polybus and Merope), who adopt him. • At about the age of 18, at a dinner party, one of Oedipus' friends makes a rude remark about his not being a real Corinthian but only adopted. Oedipus is shocked and shamed, and goes off to Delphi to ask Apollo about the truth. • Apollo tells Oedipus he is doomed to kill his father and sleep with his mother. • Oedipus unknowingly kills his father Laius (within hours, at The Three Ways) • Oedipus kills the SPHINX on the way from the Three Ways to Thebes • Oedipus is received at Thebes as a national hero, and invited to marry the recently widowed queen Jocasta.