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  1. A neglected detail in the "Oedipus Tyrannus": where three roads meet.Stephen Halliwell - 1986 - Journal of Hellenic Studies 106:187-190.
    ‘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 (...)
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  • Sightseeing at Colonus: Oedipus, Ismene, and Antigone as Theôroi in Sophocles' Oedipus at Colonus.Laurialan Reitzammer - 2018 - Classical Antiquity 37 (1):108-150.
    This paper examines the appearance of theôria as metaphor in Sophocles' Oedipus at Colonus. Once Oedipus arrives in Colonus, the local site on the outskirts of Athens becomes, in effect, theoric space, as travelers converge upon the site, drawn there to visit the old man, whose narrative is known to all Greeks. Oedipus, as panhellenic figure, serves simultaneously as spectacle and theôros, attaining inner vision as he goes to his death at the end of the play. Oedipus offers salvation to (...)
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  • Eumenides in Greek Tragedy.A. L. Brown - 1984 - Classical Quarterly 34 (2):260-281.
    The word Eὐμεν⋯δες occurs six times in our texts of Greek tragedy (four times in Eur.Or., twice in Soph.O.C.) and once as a play title (Aesch.Eum.). This may make ‘Eumenides in Greek tragedy’ sound like a restricted subject, but it is one that has seldom been discussed as a whole, and scholars have tended to consider each of the three plays in question in the light of unargued assumptions about the other two, and about the nature and affinities of Eumenides (...)
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  • Odysseus on the Niobid krater: (plates II-III).Timothy J. McNiven - 1989 - Journal of Hellenic Studies 109:191-198.
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  • The End of the Seven Against Thebes.A. L. Brown - 1976 - Classical Quarterly 26 (02):206-.
    The essential purpose of the present article is to put forward a new theory concerning the last scene of the Septem, 1005–78. The problem of the play's ending as a whole has been very thoroughly discussed by P. Nicolaus, Die Frage nach der Echtheit der Schlussszene von Aischylos' Sieben gegen Theben ; since I have no wish to duplicate Nicolaus's work I shall deal only very briefly with those aspects of the problem on which I find myself in agreement with (...)
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