Oedipus

Most contemporary political theorists who have interpreted Sophocles' Antigone have focused on the fearsome clash between Antigone and Creon. The relationship between Antigone and her weaker, more cautious sister Ismene has not garnered similar attention. This essay addresses this gap by revisiting the tantalizing possibility that Ismene played a more significant role in resisting Creon than has often been assumed. The essay shifts the analysis of Antigone, first, by illuminating the complex and fraught relationship between two women and emphasizing the political and legal challenges that they face together as women. Second, the essay shifts focus from vertical power relations—that is, between the individual and government—to horizontal power relations between disempowered outsiders. On this reading, Antigone reveals less about the downfall of a character than it does about the political power of the weak and disadvantaged.

Spiridon le muet a été réédité (sans les illustrations) par les soins de Christian Laucou, aux éditions Des Barbares, Paris, 2008. Nous ne connaîtrons jamais le mythe d'OEdipe, tel qu'il aurait existé dans sa transmission orale. Nous ne disposons que des versions littérarisées de son histoire et ce n'est qu'à partir des textes littéraires que nous pouvons avancer les hypothèses sur le « modèle originel » qui les a précédés l • On trouve les traces les plus anciennes du mythe dans l'Iliade et dans l'Odyssée où Homère évoque le destin tragique de la mère d'OEdipe, Epicaste, rencontrée par Ulysse aux Enfers. Hésiode ne fait qu'une très brève mention de la légende dans la Théogonie et dans les Travaux et les Jours. Les allusions au mythe apparaissent également dans la rve Pythique de Pindare, dans les Phéniciennes d'Euripide et dans Les sept contre Thèbes d'Eschyle 2 • Cependant, dans l'esprit du lecteur contemporain, le mythe du vainqueur de la Sphinge existe avant tout grâce au souvenir de deux tragédies de Sophocle: OEdipe roi (vers 427 avant J.-Ch.) et OEdipe à Colone (vers 406 avant J.-Ch.). La biographie d'OEdipe reconstruite à partir des textes mentionnés ci-dessus se compose de six épisodes fondamentaux, qui sont presque identiques dans toutes les versions du mythe: l'exposition de l'enfant, le meurtre du père, la victoire sur la Sphinge, le mariage avec Jocaste, le châtiment d'OEdipe et son apothéose à Colone. Dans les grandes lignes son histoire se présente ainsi: les parents d'OEdipe, Laïos, l Cette remarque s'applique évidemment à tous les mythes. Pierre BruneI fait noter que « le mythe nous parvient tout enrobé de littérature et il est déjà, qu'on le . veuille ou non, littéraire ». P. BruneI, « Préface» au Dictionnaire des mythes littéraires, sous la direction de P. BruneI, Éditions du Rocher, 2000, p. 10. 2 Voir: C. Astier, Le mythe d'OEdipe, Paris, A. Colin, 1974, p. 12-13. "Les aventures d'OEdipe en psychanalyse et en littérature" [w:] Médecine et littérature, M. Klik (red.), Warszawa, UW, 2013, s. 153-167.

The article focuses on the solo performance "El Romancero de Edipo", created by Eugenio Barba together with the Spanish actor Toni Cots, and staged in several countries between 1984 to 1990. The performance was the very first monologue directed by Barba in his long-standing career. For Barba, it was also the first direct approach to the tragic myth, following an interest already cultivated around the figure of Antigone from the early Eighties onwards, in a moment of crisis and need for renewal for the groups of the “Third Theatre” movement, defined by Barba in 1976. For Cots, the monologue was the last and culminating part of his almost ten-year experience as an actor at the Odin Teatret, where he had also developed a personal actor’s training technique (in part based on Balinese traditional dances) and had accompanied Barba through the first research activities in the new field of Theatre Anthropology. With "El Romancero of Edipo", Barba explored the tragic myth and elaborated an original theatrical narration based on the creative process of the actor, within which lay the rhythm of the montage. The text was therefore sustained by a rigorous score by the actor and by a detailed line of physical and vocal actions, making use of simple but very effective scenic props such as a vase, a self-built mask, drapery, a wig, and a stick. In addition, the use of songs and melodies, as well as other literary sources, extended the performative language of the artwork, giving life to an innovative re-elaboration rich in transcultural influences. By analysing all these elements, the article ‘deconstructs’ the performance, retracing its sources and its development between the actor and the director.

L'auteure propose dans cet article une interprétation originale du mythe d'Electre et Oreste. Cet épisode de la tragédie grecque, pourrait‑il constituer, du point de vue de la psychanalyse, un cas princeps et structural ? Pourrait‑on l'élever, comme l'affirme Carl Gustav Jung, au même rang que le complexe d'Œdipe ? Freud l'avait écarté et il semble en effet difficile de penser le « matricide » sans s'être interrogé sur ce rejet du mythe d'Electre comme équivalent symbolique féminin de celui d'Œdipe.

Mot-clés
Matricide, Electre, complexe d'Oedipe, mélancolie, deuil

The author proposes in this article an original interpretation of the myth of Electra and Orestes. Could this episode of Greek tragedy constitute, from the point of view of psychoanalysis, a princeps and structural case ? Could it be raised, as Carl Gustav Jung asserts, to the same rank as the Œdipus complex ? Freud had dismissed it and it seems indeed difficult to consider "matricide" without having questioned this rejection of the myth of Electra as a female symbolic equivalent of that of Œdipus.

Key words
Matricide, Electra, Oedipus complex, melancholia, mourning

André Gide was among the French intellectuals who, in the beginning of the 20 th century, attempted a completely new approach to the Greek myth. A typical example of his work is Thésée, a novel where he practically de-mystifies the ancient legend in order to project a different view of the hero and his deeds, to contest the ways in which the myth itself was perceived by the ancients and mostly by his contemporaries. In his work the main character stands before us alone, as a plain human being, deprived of his aura and glory; what is at stake here, though, is not so much the modernization of the myth but, rather, its rationalization. For Gide starts from a point of view that can be described at least as ironic-using cynicism and pragmatism throughout his novel-only to exalt the hero's human nature. Based on his firm philosophical beliefs, Gide appropriated a myth in order to create not just art but also a new mythology.

Oedipus the King is a play originally written by Sophocles. While Sophocles develops the mental images along quite specific lines, the imagery of light and darkness used literally of sight and blindness and metaphorically of knowledge, ignorance, and the darkness of Oedipus’s acts.

Cfr. collegamento https://amzn.to/39KqePH
Il presente documento contiene un saggio della parafrasi e del commento del testo euripideo delle Supplici, che comparirà nel volume di prossima pubblicazione :
  LE TRAGEDIE TEBANE – Volume II
  Sofocle. Antigone - Euripide. Supplici
Già pubblicato il volume :
  LE TRAGEDIE TEBANE – Volume I
  Euripide. Fenicie – Eschilo. Sette contro Tebe
Il mio personale progetto è la pubblicazione in tre volumi delle parafrasi - con commento ed introduzione - alle tragedie tebane.

Can Sophocles’ Oedipus Rex really be transformed into a love story, as in Steven Berkoff’s drama entitled Greek? This article will show that, although Greek may be viewed by some critics as simply a provocative drama by no means intended to justify incest, directors, actors and critics in the end become enthralled by the powerful love story that ensues between Eddy and his wife and mother. This perspective reveals that Berkoff’s adaptation, intended to portray the social degradation of 1980s Great Britain, is in reality a quite risky proposition since it represents a flat denial of the tragic awareness of contemporary men and women. However, if this is the case, the audience, apart from enjoying the performance of Berkoff’s drama, might question, even from a non-fundamentalist perspective within the classical tradition, to what degree it makes sense to take inspiration from a text by Sophocles that precisely illustrates the great tragic awareness of the ancient Greeks.

John Milton’s Paradise Lost does not by definition call for a psychoanalytic approach as Freud’s theory was non-existent until the late nineteenth century, and so Paradise Lost was not meant to be read through a psychoanalytic lens. However, this thesis aims to explore the presence of psychoanalysis and in addition, the authoritarian “Word” in Milton’s Paradise Lost by means of Freudian and Lacanian angles. Concepts such as the Name-of-the-Father, the Mirror Stage and the Oedipus complex are of significance for this thesis’s overall argument as they amplify the emerging psychoanalytic groundwork of Milton’s epic. This thesis argues that the Word is asserted to God as he represents the Law in Lacan’s concept of le nom du père which in turn confirms an Oedipal relationship between him and Satan. Consequently, the Begotten Son is Satan’s rival in this structure as the Son is promoted over Satan as the new king of Heaven, which sets Satan’s psyche deterioration in motion. Moreover, Adam and Eve find themselves in the process of Lacan’s Mirror Stage as they are consciously awakened by seeing themselves for the first time for who they are in relation to God. Building on previous works from, for example, Micheal Bryson, Rob Weatherill, and Roberta C. Martin, a statement has been created which provides the foundational structure for this research; I argue how Milton’s Satan has a conflict with authority and God’s authorship, and explain that this is due to the combination of Satan’s ineptitude to integrate the Name-of-the-Father and that this, in result causes an unstable hierarchy and a deteriorating separation of the Self.

La traduzione dell'Edipo a Colono di Sofocle è un'avventura straordinaria, ed emozionante. Non solo perché con questa tragedia Sofocle chiude idealmente la vicenda terrena ed umana di Edipo, vicenda ch'egli aveva già narrato - limitatamente alle tragedie che ci sono pervenute - prima nell'Antigone, quindi nell'Edipo re. Ma anche, e soprattutto, perchè questa tragedia ci avvicina, come nessun'altra, all'uomo Sofocle, e in particolare a quel dialogo intimo che ogni uomo, e Sofocle in particolare, intrattiene con la morte, nell'attesa della propria morte. E Sofocle, ormai novantenne, sapeva di non dover attendere ancora a lungo per fare esperienza di quest'incontro.
Il personaggio di Edipo - in esso è naturale vedere lo stesso poeta - ingigantisce progressivamente nel corso della tragedia: è un percorso opposto a quello che Sofocle aveva delineato nell'Edipo re. Il vecchio dal passo incerto che incontriamo all'inizio della tragedia, guiderà egli stesso Teseo al luogo nel quale si compirà misteriosamente la sua eroizzazione. L'uomo che nel prologo si rivolge che timore e rispetto all'abitante di Colono, si rivolgerà da pari a pari al re di Atene, ed infine assurgerà tra gli dei.
Condivido, qui, una parte di quest'avventura: la traduzione del prologo (1-116) e della parodo (117-253). Il testo di riferimento, così come le note, sono quelli dell'edizione di Jebb.
La traduzione è 'ragionevolmente letterale', e le note sono limitate ad alcuni commenti grammaticali che possono aiutare il lettore nella comprensione del testo.

Brief Information about Project Project Title: The Oedipus complex (Evaluation by a 1st grade psychology student) Duration of the Project: 3 months Information about Investigator Name (surname, first name) Topal, İzem Ayşegül Student No: 170102033 Position (title) First Year Student

Translation of Sophocles' Oedipus the Tyrant, Antigone, Oedipus at Colonus, with notes and commentary by Jamey Hecht. From the Introduction: "Greek tragedy is a kind ofscripture that teaches us by showing, not telling, what we need to know. I call it a scripture because it is a religious discourse about human beings and their relationships to the divine realm ofabundance and to the material world ofscarcity. But it is also drama, a scripted matrix of interpersonal words and actions, as human and social as any conversation in the audience. Like all drama, tragedy is about individuals, but it also speaks to public life — Thebes and Athens and Corinth are not just crowded places but living societies with their own crises, wounds, and needs. Oedipus himself is a gifted man, endowed with an intellectual power that exposes him to special dangers. But he is also the Everyman that Freud made him. Though most people are spared the crimes of patricide and incest, and though psychoanalysis may have been wrong to posit a repressed yearning for them in every heart, it remains permanently true that nobody is in complete control of his own destiny. Just as we, the audience, can read the very script which the characters must live out, so the gods can read the fates which we must live out. Tragedy puts us (for once!) in the
divine position of the invulnerable spectator, free to experience a safe terror as we identify with the endangered hero; free to feel a guarded pity for him insofar as we enjoy our blessed distance from his ruin. Austere as it is, the art of Sophocles comes closer to life than any treatise on ethics could. It is free ofprecepts and instruction; within it, only experience teaches."

Το άρθρο εξετάζει μια περίπτωση ανεπίλυτου οιδιπόδειου συμπλέγματος, όπως παρουσιάζεται στο διήγημα του Μένη Κουμανταρέα «Το Λουτρό», από τη συλλογή Τα μηχανάκια (1962). Σε συνάρτηση με τη θεωρία του οιδιπόδειου συμπλέγματος, η οποία διασυνδέεται άμεσα με την έννοια του «πολιτισμού» στον Freud, η συζήτηση επικεντρώνεται στην σχέση του κεντρικού χαρακτήρα με τους γονείς του και ιδιαίτερα στην παθολογική αλληλεξάρτηση μεταξύ μητέρας και γιου. Το ανεπίλυτο οιδιπόδειο σύμπλεγμα, όπως προβάλλεται στο διήγημα, φαίνεται να καθορίζει την εμπειρία του νεαρού άντρα στον στρατό και να οδηγεί στην ολοκληρωτική αποτυχία του απέναντι στις επιβολές των κοινωνικών θεσμών. Τέλος, συνεξετάζεται ένα από τα πιο γνωστά έργα του Κουμανταρέα, Η κυρία Κούλα (1978), ως παράδειγμα μεταβίβασης της οιδιπόδειας προβληματικής στη σχέση ενός νεαρού φοιτητή με μια μεσήλικη γυναίκα.

Τhe article examines the case of an unresolved Oedipus complex as presented in Menis Koumantareas’s
short story, ‘The Bath,’ from the collection Ta michanákia
(1962). In conjunction with the theory of the Oedipus
complex, which is closely linked to the concept of ‘civilization’ in Freud, the discussion centers on
the main character’s relationship with his parents and, more specifically, on the pathological interdependence
between mother and son. The unresolved Oedipus complex, as presented in the story, seems to determine the young man’s experience in the army and lead to his complete failure vis-àvis the impositions of social institutions. Finally, one of Koumantareas’s
best known works, Koula (1978), is examined as an
example of the transference of the Oedipal problematic to the relationship of a young student with a middle-aged woman.

The Ancient Greek myth as displayed in the tragedy by Sophocles “Oedipus Rex” tells about the dramatic figure of Oedipus, who unwittingly became the king of Thebes by killing his own father Laius, and married his mother, queen Jocasta.  The similar plot can be seen in “Sang Kuriang”, though there are some differences to be noticed.

The well-known Sundanese folk-tale about the strange “love triangle” between Sang Kuriang, Si Tumang and Dayang Sumbi is often explained with the “Oedipus complex” concept from the Sigmund Freud’s theories. Because of psycho-analysis, Oedipus is known as the synonym of perverse sexual behavior. Is it really so? The paper deals with the cultural anthropology and folklore studies, which deny the sinful “complex” and recall the sacred transfer of power due to the sacrifice of the old ruler by his successor, and marriage to the queen, the power holder.
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Presented at ICOLLITE 2017_Bandung, Indonesia

Реферат.
В статье обсуждены проблемы происхождения и развития в пост- Фрейдовскую эпоху концептов  Эдипов комплекс,  и "сексуальная  аддикция", как культурных феноменов, построенных  на широко распространенных    сюжетах. На клинических примерах подчеркнута  важность различения истинного душевного страдания и таких явлений как псевдостигмация и псевдовиктимизация, возникающих  при использовании психологических и психиатрических диагнозов современным обществом и  медицинским сообществом. На этой основе выделены два типа медикализации: медикализация "снизу" и медикализация "сверху".  Предложены клинические критерии различения "псевдостигматизации" , симуляции и синдрома Мюнхгаузена. Показана роль понятий  "пол" и "гендер" в развитии и  применении данных диагнозов. В статье проанализирована роль  постмодернистского дискурса, позволяющего отождествить текст и внетекстовую действительность, как необходимого  элемента  возникновения вспышек инцестуальных жалоб  и "сексуальной аддикций" в современную эпоху. 
Ключевые слова: Эдипов комплекс, инцест, сексуальная аддикция, сюжет, псевдовиктимизация,
псевдостигмация. 😊
Abstract. The article covers the problems of the origin and development of the concepts of the Oedipus complex, and sexual addiction during the  post Freudian era. We considered these syndromes  as cultural phenomena built upon  widely-spread historical  mythic  plots. The role of the concepts of "sex" and "gender" in the development and application of these diagnoses  in modern psychiatry is shown. Clinical examples emphasize the importance of distinguishing between real  mental problems  and such phenomena as pseudo -victimization  and pseudo-stigmatization. We investigate  the role of postmodern discourse, which allows to understand  the  origin of the outbreak of complaints of  the cases of  incest  and sexual addictions

The 'entry point' into the history of psychoanalysis in India could be offered by 'Savage Freud', practiced proto-psychiatry in a mental hospital, taught psychology and psychoanalysis in the Calcutta University and wrote (psychoanalytically singed) commentaries on the Bhāgvad Gītā (1948, 1931), the Yoga Sūtras (1966), the Purāas (2001, 1934) and proposed, A New Theory of Mental Life. Girindrasekhar Bose, already a medical professional, obtained a Master's degree in psychology (1917) and was awarded the first doctorate in psychology at an Indian university in 1921. His PhD thesis was titled 'The Concept of Repression'. In writing a 'history of psychoanalysis in India' this paper encounters two questions: why write a history of psychoanalysis and how does one write a history of psychoanalysis. In the process the paper also distinguishes between a logic of the Indian psyche and an 'Indian' logic of the psyche. There is however no one understanding of India, and 'India' is indeed a multi-stranded perspective-a perspective haunted by numerous inner contradictions.

RESUMO

A partir da tragédia do grego Sófocles, “Oedipus Rex”, Freud construiu sua teoria do complexo de Édipo, considerado por ele como a pedra fundamental
do edifício da psicanálise e seus trabalhos acerca do inconsciente demonstram como a história individual de cada sujeito está, na dimensão simbólica, em
estreita ligação com ele, constituindo assim o núcleo das neuroses. O mito edípico, que na peça sofocliana se desenrola na cidade-estado grega de Tebas, é marcado pelos dois grandes crimes humanos condenados com rigor: o parricídio e o incesto com a mãe. Este trabalho propõe revisitar a tragédia grega e, à luz da psicanálise, guiar um olhar para Jocasta, mãe e mais tarde esposa de Édipo. Na trama, trata-se de uma personagem secundária, porém, deslocando Jocasta para o centro da tragédia, a rainha tebana revela seu desejo criminoso.

ABSTRACT

Starting from the Greek Sofocles’ tragedy, “Oedipus Rex”, Freud constructed the theory of Oedipus Complex, having considered as the foundational stone of the Psychoanalysis and his works about the unconscious showed as the individual history of each person is, in the symbolic dimension, directly linked to it, becoming this the neurotic nucleus. The Oedipian myth, that in sofoclian drama happen at Tebas, a Greece’s city, and is marked by the two strong human crimes extremely doomed: the father’s murder and the incest with the mother. This article suggest to visit again the Greek tragedy, and, under a luminosity of Psychoanalysis, to guide a look at Jocasta, Oedipus’ bearer and then wife, she’s considered a secondary character in the plot, but, lodging Jocasta at the center of the tragedy, the Teban queen reveals her murdering wish.

The focus of this paper is the analysis of Amélie Nothomb’s (born 1966) novella Tuer le père (‘Kill the Father’) (2011) regarding its classical influence. This work is a recre- ation of the ancient Greek myth of Oedipus. The author transfers the myth into a modern story. Therefore, the focus of this paper is comparison of Nothomb’s Tuer le père and the Sophocles’ ancient Greek tragedy, the most paradigmatic work concerning this myth in the Classical Era. Nothomb’s recreation of the myth undoubtedly takes influence from Freud’s remake of Oedipus myth, although it combines it with classical elements. Consequently, this paper shall elucidate how the parricide and incest taboos are performed in a contemporary work by Amélie Nothomb.

"Amata, giacerò al suo fianco, al fianco di colui che amo" (Ant. 73). È notte: Antigone e la sorella Ismene sono sole, di fronte al palazzo reale. Creonte ha appena vietato di tributare onori funebri a Polinice: il suo corpo dovrà essere lasciato imputridire sul campo di battaglia, preda di uccelli e cani. Antigone prova di convincere la sorella ad accompagnarla mentre tenterà di seppellire il corpo del fratello: Ismene vuol far comprendere ad Antigone che il suo gesto è folle, ma è del tutto inutile. La giovane non teme la morte: anche la morte sarà bella, se sarà la conseguenza di un gesto che ritiene giusto. E sarà felice di morire, poiché il suo corpo riposerà accanto al corpo del fratello: amata, accanto al corpo di colui ch’ella ama.
L’Antigone di Sofocle è la tragedia del gesto nobile e disperato della giovane figlia di Edipo: una tragedia amatissima, in particolare nell’Ottocento e prima che l’Edipo re la sostituisse nei gusti del pubblico, ma una tragedia ormai impossibile da comprendere per noi, troppo lontani dal quel V secolo a.C. e da quell’Atene che per la prima volta la vide sulla scena del teatro di Dioniso. Troppi temi si intrecciano, temi ormai irrimediabilmente lontani dalla nostra sensibilità: l’arroganza del potere, la giustizia divina, la violenza del pubblico sul privato, i riferimenti alla storia contemporanea, e soprattutto il tema del rapporto tra un fratello ed una sorella. L’unico sincero, paritetico rapporto tra un uomo ed una donna che potesse essere concepito nella Grecia classica.
Opera della piena maturità di Sofocle, messa in scena quando il poeta ha ormai 55 anni e già 31 opere alle sue spalle: ne metterà in scena ancora 91 prima della sua morte. L’ultima sarà un altro capolavoro, l’Edipo a Colono, scritta da un Sofocle ultranovantenne, e messa in scena postuma. Intermedio, e di incerta datazione, l’Edipo re.

Throughout ancient literature, Pride has always been associated with evil – the Bible branded it as a cardinal sin with its victims subject to eternal damnation, and in the world of Dante Alighieri, the proud were punished in the deep abyss of Hell. As the main characters of the Greek Tragedy Oedipus the King and Star Wars, Oedipus and Anakin Skywalker share a similar hamartia of extreme pride. Regarded as messiahs of their respective worlds, they promptly turn proud and arrogant. Inevitably, the hubris of Oedipus and Anakin Skywalker causes their ultimate downfall through the betrayal of allies, the ignorant pursuit of knowledge, and the denial of fate.

In approaching this issue, it will be helpful to use two analytically
distinct methods, to wit, the diachronic, which allows us to speculate about how the myth reached the hands of Lydgate (Guerin 2005, 183–191); and the synchronic, to clarify the similarities and differences between the two authors. Thus, approaching the subject diachronically, the first pages of this paper will attempt to delineate the main milestones in the long
tradition of the myth of Oedipus, beginning from the time of Ancient Rome; and, afterwards, a synchronic analysis will examine various motifs as they have survived, disappeared or been transformed in the medieval poem. The final part will explore the possible reasons for these changes.

In the second stasimon of Sophocles’ Oedipus Coloneus the chorus describes the clash between Theseus and the Thebans. In Soph. OC 1054 ms. L, the families r (R Q) and z (Zn Zo) attest the adjective ἐγρεμάχαν referred to Theseus, whereas the family a (A U Y) reports ὀρειβάταν. L offers ὀρειοβάταν as γράφεται variant; this is probably a mistake for ὀρειβάταν. The most recent editors print ἐγρεμάχαν. This paper argues that no explanation for the corruption of one word into the other stands up to scrutiny. Therefore, it is better to suppose that both ἐγρεμάχαν and ὀρειβάταν coexisted in the original text of the tragedy. Hermann proposed to keep both adjectives in the text but his proposal involved other emendations, which do not seem necessary if we print ll. 1054-5 as follows: ἔνθʼ οἶμαι τὸν ἐγρεμάχαν / ὀρειβάταν Θηϲέα καὶ τὰϲ διϲτόλουϲ and we interpret 1054 as dim. chor. B −  − −  ∪  − ∪ ∪ − and 1055 as ia chor ia ∪ − ∪ −  − ∪ ∪ −  − − ∪ − .

Σκοπός της διπλωματικής εργασίας είναι να διερευνηθούν ο βαθμός αναπαράστασης της αιμομικτικής σχέσης του Οιδίποδα και της μητέρας του στον κινηματογράφο και ο τρόπος με τον οποίο η ψυχαναλυτική θεωρία συνέργησε στην απεικόνισή της.

Στο θεωρητικό μέρος θα παρουσιαστεί ο οιδιπόδειος μύθος και η ερμηνεία του στο ιστορικό, κοινωνικοπολιτικό και πολιτισμικό πλαίσιο της εποχής του. Θα αποσαφηνιστούν ορισμένοι εκ των βασικών όρων της ψυχανάλυσης και θα παρουσιαστούν οι ερμηνείες του οιδιπόδειου συμπλέγματος από τους ψυχαναλυτές Sigmund Freud, Carl G. Jung και Jacques Lacan. Η διάδοση της ψυχαναλυτικής θεωρίας και η επιρροή της στην εξέλιξη της κινηματογραφικής τέχνης θα αναλυθεί συνοπτικά, καθώς επίκεντρο της παρούσας εργασίας αποτελεί η εφαρμογή της θεωρίας της ψυχανάλυσης στις κινηματογραφικές εκδοχές του οιδιπόδειου μύθου και των χαρακτήρων του.

Για τον σκοπό αυτό προκρίθηκε η συνεξέταση τριών φιλμ με θεματικό πυρήνα το οιδιπόδειο σύμπλεγμα με δεκαετή -τουλάχιστον- χρονική απόκλιση μεταξύ τους, ώστε να ελεγχθούν αφενός η επιρροή της ψυχαναλυτικής θεωρίας και αφετέρου η ύπαρξη ψυχαναλυτικών μοτίβων. Μεταξύ των άφθονων αποδόσεων της τραγωδίας Οιδίπους Τύραννος επιλέχθηκαν τα φιλμ Oedipus Rex του T. Guthrie (1956), Edipo Re του P. P. Pasolini (1967) και Luna του B. Bertolucci (1979), εκ των οποίων τα δύο πρώτα αποτελούν μεθερμηνείες του πρωτότυπου θεατρικού έργου και το τελευταίο ελεύθερη απόδοση της αιμομικτικής σχέσης μητέρας-γιου.

Θα γίνει προσπάθεια να συσχετιστούν και να ερμηνευτούν τα κινηματογραφικά στοιχεία κάθε ταινίας με τα αναλυτικά εργαλεία των προαναφερθέντων θεωριών, καθώς και να ανιχνευθούν οι θεματικές, δομικές και μορφολογικές συνάφειες του πρωτότυπου μύθου με την κινηματογραφική του απόδοση.

Στο δημιουργικό μέρος της εργασίας παρατίθεται ένα πρωτότυπο σενάριο, το οποίο εξερευνά διαφορετικές εκφάνσεις του οιδιπόδειου συμπλέγματος, όπως τα αισθήματα έκθεσης, μοναξιάς και γονικής αποξένωσης, μίσους προς τη μορφή του Πατέρα και αγάπης και έλξης προς τη Μητέρα. Μέσα από τη σύγχρονη ιστορία της σχέσης ενός Γιου με τη Μητέρα του, το οιδιπόδειο σύμπλεγμα εξεικονίζεται από το ασύνειδο λυκαυγές του μέχρι τη δραματική του κορύφωση.
[ΔΕΝ ΠΕΡΙΛΑΜΒΑΝΕΤΑΙ ΤΟ ΔΗΜΙΟΥΡΓΙΚΟ ΜΕΡΟΣ ΤΗΣ ΕΡΓΑΣΙΑΣ]

The present study offers a comparison between two myths concerning incest: Oedipus in Senecan tragedy on one side, Myrrha in Ovid Metamorphoses 10 on the other. The two narratives share many topics regarding structure, characters and motives: in particular, the fitting punishment for their sins, even if it is evidently different (selfblinding for Oedipus, metamorphosis for Myrrha), is defined in both cases as a halfway through life and death. This element is a key issue for any metamorphosis: but Ovid presents it this way only in the case of Myrrha. Oedipus, on his side, struggles desperately to obtain this result. This shows that incest is as relevant as parricide in Oedipus’ research for the fitting punishment. The similarity between metamorphosis and a punishment which implies a long death was already in Sophocles’ Antigone: so, there was a tragic antecedent for this analogy, which echoes in Ovid’s poem, and then reappears in another tragedy, Seneca’s Oedipus.