Oedipus the King

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.

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

In King Oedipus (429 B.C.E) by Sophocles and Death of a Salesman (1949 A.D) by Arthur Miller, the central characters Oedipus and Willy Loman take extreme pride in their professions; their pride blinds them from seeing the
reality of their circumstances, and it eventually brings their ruin. At the same time, the other characters also display
their figurative blindness in both the tragedies. However, it is demonstrated that the protagonists do not succeed in
executing their responsibilities as leaders and instead encircle themselves with personal conflicts, which affect their
families and others. They strive to rise above their problems with a view to avoiding any possibility of failure. Accordingly, they imbibe willingness in their nature to bring happiness in their plain lives. Ironically, just like Oedipus, Willy Loman never realises the full truth of himself and goes through his life in a blind manner.

Amacım Sophokles’in Kral Oidipus adlı eserinin bize iyi akıl yürütmeler yapmamız konusunda bir uyarı niteliğinde olduğunu ve Sophokles’in bize iyi akıl yürütmeler yapmamızı öğütlediği ve ima ettiğini göstermek. Metnin amacını gerçekleştirmek için önce informel mantığın ne olduğunu ve bir disiplin olarak kurulmasının gereksinimlerini klasik eserdeki iyi-kötü akıl yürütmeler konusundaki benzerliği bakımından anlatacağım. Sonra argümanları değerlendirme kriterlerini kısaca açıklayacağım. Daha sonra ise Kral Oidipus metninden bazı pasajlara odaklanıp informel mantık açısından değerlendireceğim. İncelediğim akıl yürütmelerin kötü akıl yürütmeler olduğu ve Oidipus’un trajik hatasının kötü akıl yürütmeler yapmasıyla yakından ilişkili olduğunu göstermeye çalışacağım. Fakat kötü akıl yürütme ve trajik hata arasında zorunlu bir ilişki olmadığı için, Sophokles’in bunu bilerek kurguladığını ve bu kurgunun sebebinin de kötü akıl yürütme yapmamamız öğütü olduğunu söyleyeceğim. Ayrıca Sophokles’in eserlerindeki iyi akıl yürütme yapan karakterlerin iyi talihle, kötü akıl yürütme yapanların ise kötü talihle ilişkilendirdiği sonucuyla birlikte Sophokles’in bizi iyi akıl yürütmeler yapmamız konusunda örtük olarak uyardığını da söyleyeceğim.

This paper examines Sophocles’ plays King Oedipus, Antigone, and Philoctetes in order to explore whether catharsis is possible without body torture. Referring to the ideas of Michel Foucault from his seminal work Discipline and Punish: The Birth of the Prison (1975), the paper investigates the role of the body in Sophocles’ plays and, within the realm of Sophocles’ fiction, reassesses Foucault’s claim that over time the reform of the soul had become more important than the punishment of the body.

This article focuses on the language used to describe the plague, and more specifically on the oscillation of its vocabulary between literal and figurative meaning, in Homer’s Iliad (1.1-487), Sophocles’ Oedipus the King (1-215), and Thucydides’ History of the Peloponnesian War (esp. 2.47.3-2.54). It is argued that the plague spreads in the language of the three narratives by association or contiguity, exploiting existing links with related words, most notably the broader vocabulary of disease and calamity, but it also spreads by analogy, comparison, or similarity, establishing links with other domains such as famine, blight, war and destruction.

Oedipus Tyrannos is one of the most celebrated and controversial plays of all times. Sophocles wrote the play in 5th century Athens with a probable reflection of the then socio-political scenario. Multiple elements in Oedipus Tyrannos including the shrine at Delphi, the deadly plague, the position of a leading citizen as the ruler etc. had their basis in that period. Oedipus Tyrannos shows a heavy presence of rites and rituals prevalent during those times. The playwright must have been sufficiently influenced by his immediate surroundings and the pressing issues of his age. Religion and society have a deep impact on the literary works of any age. Within the play, one may also read the ancient Greek manifestation and conceptualization of the oikos (οἶκος) and polis (πολις). The character of King Oedipus and his power may be studied in the context of the polis of Athens. This research paper aims to put the play in the 5th century BC perspective. It ventures to portray that the backdrop of the play is essentially based on the then prevailing conditions. It also aims to show the modification of the ancient Theban myth according to the socioeconomic and political scenario of Sophocles' age. Documentary research as well as textual analysis has been adopted as the principal methodology of this research paper.

En el presente artículo se pretende llevar a cabo un estudio detallado de uno de los aspectos de la famosa obra de Sófocles en los que menos han reparado crítica y público: los oráculos. Estos tienen una importancia capital para el desarrollo del argumento de Edipo Rey tal como se demostrará. Para ello se realizará un análisis detallado de los mismos tanto desde el punto de vista formal como desde el funcional.

The publication of the Adyghe folklore text from a popular Aydamyrqan cycle, reflecting the Hakuch sub-dialect of the Shapsygh dialect of Adyghe, recorded by the author in the August of 1983 in the village of Khadzhiko (Greater Sochi region). The text is given both in Adyghe Cyrillic and in Latin transcriptions with morphemic analysis and grammatical comments. The author discusses typological parallels to the story in the Nart epics and in the ancient Greek mythology, specifically, in the myth of Oedipus Rex.

Examines Sophocles' play "Oedipus the Tyrant" within the context of 5th century BCE Greece. The interplay of Fate, Free Will, and Character plays out in a well-defined, predetermined universe, within the norms of Greek warrior society ethos.

Sophocles' King Oedipus has been hued as a perfect play, free from all inconsistencies. However, a close reading reveals several inconsistencies in the plot and irreconcilable contradictions in several speeches. Nevertheless, it should be borne in mind that such inconsistencies are generally overlooked by the audience. The success of a play does not depend on a few loose strands here and there.

Precious repositories of ancient wisdom? Musty relics of outmoded culture? Timeless paragons of artistic achievement? Hegemonic tools of intellectual repression? Just what are the classics, anyway, and why do (or should) we still pay so much attention to them? What is the literary canon? What is myth, and how do we use it?
These are some of the questions that gave rise to John Kirby's Secret of the Muses Retold. This new study of works by five twentieth-century Italian writers investigates the abiding influence of the Greek and Roman classics, and their rich legacy in our own day. The result is not only a splendid introduction to contemporary Italian literature, but also a lucid and stimulating meditation on the insights that writers such as Umberto Eco and Italo Calvino have tapped from the wellspring of ancient tradition.
Kirby's book offers an impassioned plea for the recuperation of the humanities in general, and of classical studies in particular. No expertise in Greek, Latin, Italian, or literary theory is presumed, and both traditional and postmodern perspectives are accommodated.

Cuando hablamos de las relaciones entre literatura y cine tendemos casi siempre a pensar de manera instintiva en términos de adaptaciones fílmicas de obras literarias. Sin embargo existen otros tipos de relación que se dan entre cine y literatura y que son igualmente interesantes. Uno de los que ha pasado generalmente más desapercibido es el de los escritores que se dedican a su vez al cine, principalmente a través de la escritura de guiones. En la película que en este artículo nos ocupa se dan de forma conjunta estos dos tipos de relación entre cine y literatura. La primera de ellas, es la más evidente, ya que se trata de la adaptación de la famosa tragedia de Sófocles, Edipo rey. Pero creemos que el auténtico valor e interés de esta película no está tanto en su calidad de adaptación de una obra literaria, como en el hecho de que en ella se dé el segundo tipo de relación de que he hablado, es decir, su guionista y auténtico “autor” de la película es también un escritor, que es por derecho propio un auténtico clásico de la literatura universal a la altura del mismo Sófocles: se trata, nada más y nada menos que de Gabriel García Márquez. Por lo tanto lo que vamos a hacer en este trabajo es ver cómo se relaciona Edipo Alcalde con el resto de la obra literaria de su “verdadero autor”, García Márquez.

Kazuo Ishiguro’s novel The Unconsoled (1995), this essay argues, can be understood in the context of Freud’s account of the Oedipus complex. Of particular significance is Freud’s interest in the figure of Oedipus as one who solves riddles, or reads, because The Unconsoled is a text which is concerned also with the act of reading. This essay, following Pietro Pucci’s line that Oedipus’s life as a result of the prophecy is governed by both telos and tukhê, shows that Ishiguro’s novel exposes the ways in which the narrative order in the line of the text depends on the intervention of chance to preserve its apparently natural progression towards a determined end. These interventions manifest in the novel as a series of uncanny repetitions, the textual equivalent of the crossroad where, in a chance encounter, Oedipus slays his father. The crossroad, ensuring that what is fated comes to pass, seems to serve the death-drive by guaranteeing that the authored text becomes a death sentence. However, this paper finds that, at the crossroad, not only is the fated and death-defined narrative preserved, but a twin lineage is also generated by life-giving chance, so that birth and death do not occur only “in the beginning” and at “the end” of Ishiguro’s novel. What emerges instead is a figure of the reader as one who is created and who creates. The reader is both that which is written, like Fate, and dies with the text which authors it, and that which lives to ensure that what once was written is written again.