The present article has as its purpose to analyze the “spectacle” (ὄψις), from the conceptions developed in the Poetics of Aristotle, as a fundamental part in the tragic conception of Sophocles, in the work Oedipus Tyrannus. The analysis focused on the exodus of the play to demonstrate how aspects of theatrical representation are present in the tragic text.

Concerned to make certain a difference between the human and its machinic simulation, two films released at the start of the new millennium put the trope of the Oedipal at the heart of their action. In doing so, both succeed in establishing the real of the human within its terms. However, by taking the Oedipal as the figure of this difference, both films also unleash a set of possibilities for being human in the new millennium that may not have been (...) entirely expected. In a close reading of both Artificial Intelligence (Steven Spielberg, 2001) and I, Robot (Alex Proyas, 2004), this article examines the possibilities for human being as they come to circulate within the narrative structures of both films. In doing so it also examines the further difference drawn between what each film offers as the literal and metaphorical rendition of the Oedipal itself. With the metaphorical opened to the space and time of being excluded as a possibility in its literal rendition, the consequences of the subsequent process of becoming of the human are finally laid bare. (shrink)

As an epistemological perspective, 'nomadism' is an emerging field of scholarship, offering intersectionality with eco-criticism, feminism, post-colonialism, migration studies, and translation. Much of the scholarship that uses the precepts of nomadism to read cultural texts and phenomena is scattered as separate articles in academic journals or as single chapters in books wherein the primary focus is the intersectional fields. Few book-length publications solely focus on the ramifications of nomadism; Posthumanist Nomadisms across non-Oedipal Spatiality fills that void. The fifteen chapters in (...) this volume explore the possibilities offered by the nomadic perspective to explore a wide range of literary and cultural texts; organized into three sections, "Nomadic Assemblages," "Non-Oedipal Cartographies", and "Space-Time Montages", that work as one to negate absorption into the interiority of sovereign territory. These sections are not an attempt at corralling the nomadic spirit into separate enclosures; instead, they are bands of warriors that operate the violence of the hunted animal, dehumanized human others, and earth others. The chapters are in constant multi-vocal conversations with narratives that camp on the turbulent weathers of global transitory spaces. They charter real or intellectual turfs of interstitial/rhizomatic nomadic epistemologies as political resistance to the exclusionary practices of a violently wired world. This book will appeal to post-graduate students, researchers, and faculty in the departments of literature, comparative literary and cultural studies. Researchers in sociology, cultural anthropology, gender studies, and migration studies will also find the material applicable to the expanding approaches available in their fields. (shrink)

This essay reconstructs James Bernauer’s reading of Foucault’s critique of psychoanalysis in his essay “Oedipus, Freud, Foucault” in order to assess the role that Foucault’s critique of psychoanaly...

As with a previous colloquium at Moscow in 2004, when my topic was literature in the Federal Republic of Germany during the post-World War II decades, I want to speak about tensions between war and postwar generations in Russia and in Germany, and my perspective will again be largely autobiographical. Of course this convergence (bordering on repetition) is not random. For I believe that remarkably complex affinities exist between Germany after the twelve-year-short nightmare of National Socialism and Russia after the (...) long stagnation of the Soviet Union. In both cases, a national collapse made cultural circles and newly elected governments…. (shrink)

Quelle est la structure du désir et comment le petit d'homme en vient-il à éprouver le désir pour un objet? Freud s'était posé la question et la théorie du complexe d'Oedipe était une pièce essentielle de sa réponse. R. Girard estime que Freud s'est trompé et que la théorie du désir mimétique, elle, fournit une solution au problème. Je retiendrai trois thèses centrales de la théorie de Girard. Après les avoir situées dans leur contexte pour en saisir correctement le sens, (...) je dirai en quoi, à mon avis, ces thèses ne répondent pas à la question de Freud. Je distinguerai trois moments dans la formation du sujet désirant, moments que je mettrai en rapport avec la structuration de la psyché. À la situation oedipienne, il faut opposer un temps pré-oedipien et un temps post-oedipien; ce dernier implique la résolution de l'Oedipe. Je montrerai que le concept d'étayage permet à Freud de comprendre la genèse du désir à partir du besoin tout en marquant la spécificité du désir par rapport au besoin. Au dire de Girard, Freud a pressenti la nature mimétique du désir. L'usage qu'il fait de la notion d'identification le montre bien. Mais cette intuition n'arrive pas à porter tous ses fruits car Freud soutient par ailleurs une thèse qui contredit la première, à savoir que la libido est directement fixée sur la mère. (shrink)

What are we to make of Sophocles's use of the term "Tyrannus"1 in the title of his tragedy Oedipus Tyrannus? Did he simply mean "king," as most translators would have it, or did he mean "tyrant" in the sense of despot—or some combination of both? A sampling of translations offered by Amazon yields seventeen titles using either "Rex" or "King," on the one hand, and three using "Tyrant."H. G. Liddell and Robert Scott define tyrannus as meaning an (...) "absolute monarch unlimited by law or constitution … not applied to old hereditary sovereignties … for the term rather regards the irregular way the power was gained, than the way in which it was exercised.… However, the word soon came to imply reproach, like our... (shrink)

All editors have taken the words to mean ‘thou wouldst anger a very st ne’. So did the scholiast.

‘There is surely more than geography involved in the extraordinary stress laid in the play on the importance of the branching road.’ So writes the latest editor of Sophocles’ Oedipus Tyrannus, R. D. Dawe, who proceeds to mention the ‘sexual significance … ’ which ‘people tell us’ is to be discerned behind the references to the cross-roads where Oedipus met and killed his father. Dawe finds it difficult to make up his mind whether quasi-Freudian symbolism is properly to be (...) attributed to Sophocles, and in adopting an equivocal position he cites only one further factor, that ‘the imagery of crossroads is common enough representing a point where a crucial decision has to be made’. (shrink)

Bruno Latour (2004) claims that modernist critique, the kind that removes the false veils of ideology, ‘has run out of steam’. Despite its theoretical variety, it often consists in pointing out how...

βριс φυτεει τραννον βριс κτλ. Thus the MSS, Schol. and Stobaeus 4.8. 11 . βριν φυτεει τυραννον βριс κτλ. Thus Blaydes, followed recently by R. P. Winnington-Ingram, JHS 91 , 126 = Sophocles. An interpretation , p. 192 ; R. D. Dawe, Sophoclis Tragoediae , i. 156 and Sophocles. Oedipus Rex , pp. 18, 61,182 f. ; R. W. B. Burton, The Chorus in Sophocles' Tragedies , p. 164 ; J. Diggle, CRn.s. 32, 14.

After consulting the commentaries and the fine remarks of ‘Longinus’ on this passage, a reader may still reasonably feel dissatisfied. Lines 1405–7 are normally taken to mean ‘you have shown fathers, brothers, sons and brides, wives, mothers to be kindred blood’; for the position of Schneidewin-Nauck compare Od. 4.229–30.

After consulting the commentaries and the fine remarks of ‘Longinus’ on this passage, a reader may still reasonably feel dissatisfied. Lines 1405–7 are normally taken to mean ‘you have shown fathers, brothers, sons and brides, wives, mothers to be kindred blood’; for the position of Schneidewin-Nauck compare Od. 4.229–30.

Why do things happen as they do in the universe of Oedipus Tyrannus, consisting of the play itself coupled with the myth that surrounds and informs it? Why is Oedipus fated to kill his father and marry his mother? What part does Oedipus play in his own destruction? What role do divinities play? And what of human free will? In what follows I consider the power of curses, prophecy, prayer, fate, the gods, and human self-determination as they serve to (...) effect the action.Generally accepted is the notion that the Greek audience knew the Oedipus myth before entering the theater. Sophocles's use of dramatic irony depends on this. But where does the myth begin? Sophocles starts in medias res with the plague, but the myth... (shrink)

ὓβριс φυτε⋯ει τ⋯ραννον ὕβριс κτλ. Thus the MSS, Schol. and Stobaeus 4.8. 11. ὕβριν φυτε⋯ει τυραννον ὕβριс κτλ. Thus Blaydes, followed recently by R. P. Winnington-Ingram, JHS 91, 126 = Sophocles. An interpretation, p. 192 ; R. D. Dawe, Sophoclis Tragoediae, i. 156 and Sophocles. Oedipus Rex, pp. 18, 61,182 f. ; R. W. B. Burton, The Chorus in Sophocles' Tragedies, p. 164 ; J. Diggle, CRn.s. 32, 14.

All editors have taken the words to mean ‘thou wouldst anger a very st ne’. So did the scholiast.

In this scene Oedipus receives the delegation of suppliants who have come, under the leadership of the priest of Zeus, to entreat Oedipus to deliver them from the blight and the plague. The issue with which I propose to deal concerns the composition of this delegation.

In lieu of an abstract, here is a brief excerpt of the content:The Antigone-Effect and the Oedipal CurseToward a Promiscuous NatalityBonnie HonigMen, though they must die, are not born in order to die but in order to begin.—Hannah Arendt, The Human ConditionIn Judith Butler’s book Antigone’s Claim, “promiscuous obedience” is the proposed response to a world constituted by “unwritten laws, aberrant transmissions” (Butler 2000). The worldly condition of “unwritten laws, aberrant transmissions” names an aspect of Antigone’s situation unmentioned by Sina (...) Kramer in her essay on Butler’s New Humanism: the curse. Antigone mourns and desires under the sign of a curse that consigns her forever to a desire that will be unrequited, and a mourning that will never achieve what we now call closure.What is the curse identified by Butler? In Oedipus at Colonus, Oedipus says to his daughters (speaking about himself), “From none did you have love more than from this man, without whom you will now spend the remainder of your life” (Trans. H. Lloyd-Jones 1994, 1617–19, qtd. in Butler 2000, 60). It certainly sounds like a curse! But what sort of a curse? 1Focusing on Antigone, Butler says Oedipus’s “words... demand that for all time she have no man except for the man who is dead... this is a demand, [End Page 41] a curse, made by Oedipus, who positions himself as her only one” (60). But what Butler calls the curse is actually, or at least also, Oedipus’s statement of gratitude and debt. If Oedipus places himself in a relationship of exclusivity with his daughters, he does so because of the singularity of his debt to them at the time of his death. Here is the longer passage (from a different translation): “My children, on this day your father no longer exists. Now I have perished utterly, and no longer will you bear the burden of tending me, which was no light one, I well know, my children. Yet just one word turns all those toils to nothing, you have been treated as friends by no one more than by this man; and now you will have me with you no longer, through all your days to come” (Trans. R. C. Jebb 1889, 1612–19).2Although Oedipus seems to gift his daughters with freedom when he claims that “no longer will [they] bear the burden of tending” to their father, he also tethers his daughters to himself forever when he says his gratitude to his daughters is so immense that no one will ever love them like he does: they have been, and likely will always be, loved best and most (“treated as friends”) “by no one more than by this man,” their dead father, for all their “days to come” (in the R. C. Jebb translation) or for “the remainder of your life” (in the H. Lloyd-Jones translation). Whether as a statement of love or friendship (the translations vary), the speech both thanks and curses, pressing on us awareness of the intimate closeness of those two speech acts in a way that recalls Derrida’s analysis of the undecidability of the gift (Derrida 1995, 97).For Butler, the speech is a cursed command that Antigone should never love another as much as she loves her father. “His words... demand that for all time she have no man except for the man who is dead, and though this is a demand, a curse, made by Oedipus, who positions himself as her only one, it is clear that she both honors and disobeys this curse as she displaces her life for her father onto her brother” (60). But Oedipus says something a bit different: no one will ever love Antigone as much as he now does. On the one reading he dooms her to be forever unloving; on the other, unlovable or, simply, unloved.Antigone will love, however, and so, since Butler assumes the curse is that Antigone should not love, Butler sees Antigone’s love for her dead brother as a way to both carry and transgress the curse under which she operates. Loving a dead man is Antigone’s promiscuously obedient way to obey and subvert... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about the term (...) "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

While Freud’s theory of the Oedipus complex is concerned with psycho-sexual development, it concomitantly presents a novel historical-political imagination. This article compares the post-Oedipal self with the selves envisioned by Nietzsche and Marx, suggesting that while these 19th-century theorists constructed selves that are able to transcend the normalizing and subjugating circumstances of modernity, Freud’s theory defines a healthy self as irredeemably embedded in the prevailing culture and life-orders. In making his case, Freud spurns the quests of Nietzsche and Marx for (...) wholeness of the individual and for self-authorship, and presents the self as structurally agonistic, riven and thoroughly molded by society. (shrink)