This paper presents two accounts of how Oedipus might have arrived at the answer to the Sphinx's riddle by proceeding methodically.

Sophocles’ Oedipus the King is an extended meditation on the limits of human intelligence, or more precisely, on how a man renowned for the power of his intellect could fail to know the most important truths. One could argue, however, that Sophocles intended for his audiences to take away a second, narrower lesson: namely that divinely inspired seers such as Tiresias have a surer claim on truth than do those who, like Oedipus, seek to gain knowledge through their (...) own efforts. Thus, the Oedipus can be seen as a defense of prophecy and a reaction against the complex of scientific and philosophical ideas known as “the 5th-century Enlightenment.” I offer some support for this reading of the Oedipus. I also argue that part of the cultural background of the Oedipus consisted of ideas about knowledge introduced into Greek thought by the outspoken critic of Greek popular religion, Xenophanes of Colophon. (shrink)

This paper proposes that before the opening of Sophocles’ play Oedipus the King, the “hero” had to solve a lot of riddles.

This paper is a review of R.C. Smith's "The Ticklish Subject? A Critique of Žižek’s Lacanian Theory of Subjectivity, with Emphasis on an Alternative". Whereas Lacan places central importance on the Oedipal phase as a necessary step on the road to the acquisition of subjectivity, R.C. Smith views it as a fundamentally authoritarian moment in early child development. This disagreement, in turn, puts Smith at odds with Žižek’s rupture between the Real and the Symbolic, leading him to advance instead an (...) understanding of the subject as engaged in constant mediation in concert with others. The political ramifications of a notion of mediating subjectivity are intensely gripping, for they disclose nothing less than the promise to recover a sense of effective agency – the possibility of making a difference to one’s sociohistorical conditions – from the ruins of the neoliberal deformation of the subject. (shrink)

This article draws on Hegel's description of the tragedy of "Oedipus at Colonus" based on the text of "Phenomenology of spirit". Because Hegel considers art to be the product of the spirit of the times and believes it emerges from the culture and ethics of societies, he reflects on the spirit of Greek society through reading Greek tragedy. The most prominent feature of ancient Greek society has been the "unity of life" among most philosophers. But Hegel believes that because (...) this unity was unconsidered and immediate, the Greek ethical life (Sittlichkeit) collapses. Although Hegel in the phenomenology of spirit makes no direct reference to the play of Oedipus at Clonus, this article compares the text of phenomenology with the text of the tragedy of Oedipus at Colonus and reveals that Hegel's understanding of ancient Greek society is completely intertwined with the aforementioned tragedy. Hegel’s reading of this tragedy focuses on the confrontation between the roles of woman/man and family/state in ancient Greek society. These confrontations appear in the characters of Antigone and Ismene (daughters of Oedipus) against Eteocles and Polynices (sons of Oedipus). While describing the war between two brothers, Hegel goes on to describe the "war" phenomenon in the context of the establishment of unity in society, which is part of Hegel's political philosophy. (shrink)

This paper presents an obvious explanation for why Oedipus even attempted to solve the Sphinx’s riddle, given the high cost of failure.

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.

In Anti-Oedipus, Deleuze and Guattari claim that a general theory of society must be a generalised theory of flows. This is hardly a straightforward claim, and this paper attempts to examine the grounds for it. Why should socio-political theory be based on a theory of flows rather than, say, a theory of the social contract, or a theory of the State, or the questions of legitimation or revolution, or numerous other possible candidates? The concept of flow (and the related (...) notions of code and stock), I argue, is derived from contemporary economic theory, and most notably John Maynard Keynes. Deleuze and Guattari remained Marxists, not only because they held that contemporary political philosophy must inevitably be centred on the analysis of capitalism, but also because they held, following Marx himself, that the Marxist analysis of capital must constantly be transformed and adapted to new conditions. Thus, while certain aspects of Marx's analysis disappear from Capitalism and Schizophrenia, they are supplemented by the addition of new concepts adequate to the contemporary state of capitalism. The paper concludes, then, with an analysis of the role played by the concepts of flow, code and stock in Deleuze and Guattari's political philosophy. (shrink)

This article explores the controversy between ancient Greek dramatists and their fellow philosophers over the vertical axis, with special reference to Socrates. I begin with a discussion of the vertical axis in Greek theatre, and turn to Sophocles’ Oedipus Tyrannus to discuss the vertical as a manifestation of the tragic preference ascribed to our “divine” upper body over our “bestial” lower body. Then, I discuss the deus ex machina as an image of divine vertical intervention in the horizontal human (...) plot, and claim that Plato’s and Aristotle’s philosophical critique of this theatrical convention fails to notice that the dramatists made a subversive use of the illogicality of this convention. The second part of the article is dedicated to the vertical as an expression of man’s desire to transcend the boundaries of the human sphere. I discuss the negative treatment of this desire by Greek dramatists, who regard it as an unworthy aspiration, compared to its positive treatment by Greek philosophers, who presents it as a worthy aspiration, since it is only through such an ascent that one can get a glimpse of the eternal. In this context, I examine two representations of Socrates: his deus ex machina appearance in Aristophanes’ Clouds, implying the hubristic stance of philosophers; and his habit of long immobile standings as introduced in Plato’s Symposium, implying the philosophers’ superiority over the dramatists. However, the publicly-visible nature of Socrates’ standstills also turns them into a display of philosophizing, meaning that Socrates of the Symposium is a philosopher who (perhaps unfairly) theatricalizes his verticality so as to challenge the art of theatre. (shrink)

This paper investigates the historiographical utility of psychoanalysis, focussing in particular on retrospective explanations of demonic possession and exorcism. It is argued that while 'full-blown' psychoanalytic explanations-those that impose Oedipus complexes, anal eroticism or other sophisticated theoretical structures on the historical actors-may be vulnerable to the charge of anachronism, a weaker form of retrospective psychoanalysis can be defended as a legitimate historical lens. The paper concludes, however, by urging historians to look at psychoanalysis as well as trying to look (...) through it. Full-blown psychoanalysis is a bad historical lens but it may, in some cases, be an excellent explanatory template: a thorough understanding of how psychoanalytic therapy functions in the modern world is, for example, a good theoretical preparation for historians seeking to understand the sixteenth-century's demonological universe. (shrink)

Deleuze does not mention Schopenhauer very frequently. Certainly Schopenhauer does not appear to be in the counter-canon of life-affirming philosophers that Deleuze so values – indeed, far from it. Nor does he appear to be even a favoured ‘enemy’ as he describes Kant, or as he sometimes appears to view Hegel. Nevertheless, I think Schopenhauer’s break from Kant is crucial for understanding not only Deleuze’s account of Nietzsche, but also for a proper grasp of the core Deleuzian distinction between the (...) actual and the virtual, at least in its guise as the distinction between desiring-production and social production in Anti-Oedipus. (shrink)

Eleven top Deleuze scholars reclaim Deleuzian philosophy as moral philosophy Ethics plays a crucial, if subtle, role in Gilles Deleuze's philosophical project. Michel Foucault claimed that Anti-Oedipus was `a book of ethics, the first book of ethics to be written in France in quite a long time'. But what is the nature of the immanent ethics that is developed in Deleuze's thought? How does it differ from previous conceptions of ethics? And what paths does it open for future thought, (...) given the ethical challenges facing humanity in so many domains? Each of the eleven essays in this collection explores the ethical dimension of Deleuze's thought along a new and singular trajectory, and in so doing, attempts to reclaim his philosophy as an ethical philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mother-Daughter Relations and the Maternal in Irigaray and ChodorowAlison StoneGod the Father and Jesus the Son; Abraham and Isaac; Uranus, Cronus, and Zeus; Zeus and Dionysus; Hamlet and his father; Fyodor Karamazov and his three sons—representations of and fantasies about father-son relationships are central to Western culture and philosophy. Within philosophy, one thinks of Hegel’s conception of the dialectic in terms of the divine trinity, Nietzsche’s preoccupation with Christ (...) and Dionysus, or Kierkegaard’s meditations on Abraham’s near-murder of Isaac. In contrast, mother-daughter relationships have been shrouded in near-universal silence—much more so than representations of either mothers and sons (Oedipus and Jocasta; Mary and Jesus) or fathers and daughters (Agamemnon and Iphigenia; Lear and Cordelia). Female and feminist theorists, writers, and artists have done much to bring mother-daughter relationships into representation and to reimagine the maternal beyond its traditional subservience to father-son dynasties.Amongst continental feminists, Luce Irigaray and Julia Kristeva have, of course, made major contributions to this task. Within Anglophone feminism, too, feminist psychoanalytic thinkers have sought to rectify Freud’s overemphasis on the paternal and on father-son relations. Nancy Chodorow’s important work in this area paints a portrait of contemporary mother-daughter relations which seems, at first sight, strikingly similar to Irigaray’s. Both thinkers suggest that mothers and their infant daughters experience a unique level of mutual identification. But under patriarchy—specifically, given exclusively female childrearing for Chodorow and given the absence of any symbolization of female subjectivity for Irigaray—daughters are forced to turn to the father [End Page 45] to achieve any psychical independence from their mothers. The independence that daughters thus attain coexists with ongoing psychical identification with their mothers, so that women oscillate endlessly between separation from and mergence with their mothers. If the dominant template for father-son relations involves violent rivalry followed by guilt-ridden father-worship as the cement of fraternal society, as Freud described in Totem and Taboo (Freud 2001), the template for mother-daughter relations involves hostile separation constantly undone by ongoing fusion. This difference in templates maps the social-symbolic difference between the paternal position of power/authority/law and the maternal position of powerlessness/silence/body.However, the manifest similarities between Irigaray’s and Chodorow’s pictures are embedded in deep theoretical differences. The details of their descriptions of mother-daughter relations differ, and they give different explanations for why these relations follow a logic of separation and fusion: female mothering for Chodorow, the paternal symbolic order for Irigaray. They make different proposals for how to change these relations: shared parenting for Chodorow versus symbolic transformation for Irigaray. They hold conflicting conceptions of the self and of language, reflecting their heterogeneous psychoanalytic backgrounds in Anglo-American object relations versus French Lacanianism and poststructuralism. These deep differences raise questions about whether Chodorow and Irigaray are discussing mother-daughter relations in the same sense at all.Bringing Irigaray and Chodorow together across their different intellectual contexts, this article compares and partially synthesizes their visions of the maternal and of mother-daughter relations. By integrating their perspectives, we can move beyond the “impasse” between Lacanian and object-relations feminisms that dominated psychoanalytic feminist debates in the 1980s and 1990s (Brennan 1991)—debates that have crucially shaped continental feminists’ orientation towards questions of sexual difference, language and representation, and the embodied psyche.The impasse in question has at least two strands. First, for object-relations feminists such as Chodorow, our pre-Oedipal relations with our mothers shape us so that we acquire “core” selves with a fairly stable gender. This approach elevates the mother in importance (compared to classical psychoanalysis with its emphasis on the father), but it loses sight of psychic and gender instability. This can make Chodorow’s views seem rather dated given the impact of Judith Butler’s work and her emphasis on the unstable, shifting nature of gender. Lacanian feminists such as Jacquelyn Rose (Rose 1986) reemphasize psychic instability, but they do so by stressing that the subject is split between paternal language and the pre-Oedipal maternal realm, which means that these theorists also... (shrink)

Gilles Deleuze was born in 1925, and died by his own hand 70 years later. He taught philosophy in the French lycée system, at the University of Lyon, and then—after the institutional fragmentation that was the government‟s response to the student-driven near-revolution of 1968—at the University of Paris VIII (Vincennes). Although his work is only now coming to prominence in the Anglophone world, he has achieved great notoriety in France: he is widely credited with inaugurating the post-structuralist movement with his (...) 1962 Nietzsche and Philosophy, as well as with providing its definitive text, the 1972 Anti-Oedipus (co-written with Félix Guattari). His colleague and friend, Michel Foucault, has gone so far as to suggest that 'perhaps one day this century will be known as Deleuzian'. (shrink)

Gilles Deleuze was born in 1925, and died by his own hand 70 years later. He taught philosophy in the French lycée system, at the University of Lyon, and then—after the institutional fragmentation that was the government‟s response to the student-driven near-revolution of 1968—at the University of Paris VIII (Vincennes). Although his work is only now coming to prominence in the Anglophone world, he has achieved great notoriety in France: he is widely credited with inaugurating the post-structuralist movement with his (...) 1962 Nietzsche and Philosophy, as well as with providing its definitive text, the 1972 Anti-Oedipus (co-written with Félix Guattari). His colleague and friend, Michel Foucault, has gone so far as to suggest that 'perhaps one day this century will be known as Deleuzian'. (shrink)

My dissertation presents a comprehensive rethinking of the Kantian imperative, articulating it on the basis of what I call originary sense. Calling primarily upon the works of Maurice Merleau-Ponty, Gilles Deleuze, and Jean-François Lyotard, I show (1) that sense constitutes the ontologically most basic dimension of our worldly being and (2) that the way in which this sense happens is determinative for our experience of the ethical imperative. By originary sense I mean to name something that is neither sensible sense (...) (sensation) nor intelligible sense (meaning), but rather a kind of unity of these two that is ontologically anterior to their separation. In the first chapter I follow Merleau-Ponty’s argument in Phenomenology of Perception that sensible sense and intelligible sense belong originarily together at the level of the lived body. We are able to intend the meaning of worldly situations (Husserl’s Sinngebung) only insofar as we are responsive in an embodied way to the imperatives that are given in the sensible itself. The intelligible lawfulness so characteristic of the Kantian imperative is thus shown to be grounded in a more fundamental unity of intelligible and sensible sense. The second chapter follows Merleau-Ponty’s later works, especially The Prose of the World and The Visible and the Invisible, showing how the sensibility that is inseparable from the imperative introduces important limitations to the universalizing tendencies of Kant’s moral philosophy, drawing us back to the irreducible situatedness of ethical situations. In the third chapter I turn to the very different articulation of sense given by Gilles Deleuze, primarily in his Logic of Sense. I show there that Merleau-Ponty’s phenomenological conception of sense does not allow us to think the singularity of the imperative, the fact that the ethical command weighs on a me that cannot be grasped in terms of the generalities of my public identity. This singularity corresponds broadly to the idea of dignity in Kant’s moral philosophy. I argue that Deleuze, who conceptualizes sense as an event, gives us the resources to think singularity and to understand what it entails for our ethical practice. Finally, I attempt in the fourth chapter to think these two sides of the imperative—its demand for universality and its emphasis on singularity and dignity— together in the idea of libidinal sense. Calling on Jean-François Lyotard’s Libidinal Economy and, to a lesser extent, on Deleuze and Guattari’s Anti-Oedipus, I show that these two apparently incompatible requirements of the imperative have a common source in the event of libidinal investment (cathexis). In thus locating the source of the imperative in originary, libidinal sense, I hope both to shed some light on the irreducible complexity of our ethical being and to present a more humane, less moralizing version of the imperative than is typically articulated in moral philosophy. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : (...) discovery of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)

Situating psychoanalysis as the foundation of the therapeutic community and as a spiritual exercise, the author argues that contemporary approaches articulate a form of akēdia – a desire to be elsewhere – both in its focus on expectation and its misunderstanding of the nature ‘place’. This amounts to an avoidance of being-with the subject of psychosis. This leads to a discussion of the formation necessary for therapeutic community practitioners which is in opposition to the notion of training. Such a formation (...) amounts to an inscription into the discourse of the therapeutic community with specific reference to the Law (Oedipus). -/- L’autore intende la psicoanalisi come esercizio spirituale e la colloca come base fondante della Comunità Terapeutica. Egli critica gli approcci contemporanei al trattamento della psicosi, poiché mettono in atto qualcosa di simile al desiderio di essere altrove -akēdia- sia per quanto riguarda le aspettative che l’incomprensione del ‘luogo’ della natura. Questo atteggiamento porta a un evitamento dell’essere-con la psicosi. Tali premesse aprono di fatto la discussione sulla necessaria formazione degli operatori di una comunità terapeutica che non può essere racchiusa nella parola training. La formazione degli operatori è nell’essere, nell’appartenere alla stessa comunità terapeutica e non può che far preciso riferimento ai concetti edipici di confine e di Legge. (shrink)

Psychoanalytic theory can be regarded as a cogent extension of commonsense psychology by interpretive means internal to it.

A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires (...) and dissatisfactions are fed by reading romance novels. (shrink)

This article shows that Paul Ricoeur and Carol Gilligan develop their theories of the self by borrowing critically from Freudian aesthetics, adding an ethical dimension missing in it. Ricoeur critiques, completes and endorses the Freudian interpretation of the Oedipus, while Gilligan rejects it, since she considers it distorted by patriarchal ideology. Both are reclaiming the Freudian theory of culture by focusing on what Freud called the «life drive» as opposed to the «death drive». But Ricoeur does not pay the (...) same attention as Gilligan to patriarchal ideology conveyed by Greek tragedies. Thus, his ethics remains deeply rooted in the language of the tragic conflict (Oedipus, Antigone), while Gilligan’s ethics seeks to renew the language of pleasure (Cupid and Psyche). -/- ----------- Cet article montre que Paul Ricœur et Carol Gilligan développent leurs théories du soi en puisant de manière critique à l’esthétique freudienne, y ajoutant la dimension éthique manquante. Si Ricœur critique, complète et entérine l’interprétation freudienne de l’Œdipe, Gilligan se distingue davantage de Freud, qu’elle juge biaisé par l’idéologie patriarcale. Tous deux se réapproprient la théorie freudienne de la culture en mettant l’accent sur ce que Freud appelait la «pulsion de vie» par opposition à la «pulsion de mort». Mais comme Ricœur n’accorde pas la même attention que Gilligan à l’idéologie patriarcale véhiculée par les tragédies grecques, son éthique reste profondément enracinée dans le langage du conflit tragique (Œdipe, Antigone), alors que celle de Gilligan cherche à renouveler le langage du plaisir (Cupidon et Psyché). (shrink)

This essay attempt to reconstruct the notion of desire adopted in Deleuze and Guattar's "Anti-Oedipus" by focusing on some of its principal components: flow, line of flight, machine, molecular, and body without organs.

This paper aims to show issues raised by lacanian psychoanalyses concerning the reasons of the phenomenon of aggressiveness, mainly due to the frequency of this phenomenon in education. In this paper, it was intended to highlight the philosophical dimension of the problem, since we are using basically the dissertative method. Lacan takes Hegelian and Marxist legacy to develop the thesis of aggressiveness as realization of a dynamic introduced from the gaze and that has its modus operandi in the movements of (...) alienation and non-alienation. The aggressiveness illustrated, for example, by the injuries suffered by teachers shows itself as a tentative to cause the fall of the Other, this fall is considered as the object a of which its appearance is regulated by the Oedipus Complex. Namely, both the way how the parental authority figures are inscribed in the significant chains that compose the individual and how this inscription shapes the existential possibilities of interaction with the opposite sex would be the key to foresee the extent the individual makes use of aggressiveness. In this way, the Oedipus complex, reinvested by the event of puberty would be responsible for the displacement of the libido one time to the ´Other´ and other time to the own subject. The Other, in the theoretical development of Lacan that follows the decade of 1960, comprehends the identifier choices and also what escapes from any identification. The Other, as a teacher, has the role of positioning itself to generate intuitively one process of identification and has the delicate function of sustain the dialectic that emerges in the moment where the Other falls, moment which usually comes after the identification and that happens with a joy capable of unveiling the object a. Although the role of education is not to maintain an auscultation to this object, the education can influence its nonexclusion and make this object be contoured with the advent of singularities. In this moment, the explicitness of the rules which education constitutes itself as well as the empathy from the educator can be a fundamental instrument in education like the subject to be taught. From the text, we can conclude that: we need to put the aggressiveness in our speech as via of achievement of the non-alienation process conjugated with the possibility to support the desire. (shrink)

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a pursuit (...) for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

The “Treatise on Nomadology: The War Machine" is one of the most important and innovative chapters in Gilles Deleuze and Felix Guattari's book, A Thousand Plateaus. It is a highly original text in political philosophy whose implications have yet to be fully mined—or even partially mined, for that matter. This short text analyzes the "noumenal" status that Deleuze assigns to the nomadic war machine, and analyzes the fundamental role that the nomadology plays in Deleuze and Guattari's political philosophy.

Strange Fruit is an exemplary study of the question of the integration of West Indians of immigrant origin living in England in the 1980s. Through this play structured in three acts, Caryl Phillips offers the reader-viewer privileged access to the inner world of a West Indian family living in a deprived London neighborhood. At the heart of this intimate drama with tragic overtones, there is a cultural conflict between two successive generations of immigrants. Philosophical and existential issues are deftly treated (...) in a psychoanalytical perspective. (shrink)

Oscar Wilde's The Critic as Artist is shown to foreshadow some key concepts of poststructuralist interpretive theory - such as the necessary interplay of blindness and insight in criticism (Lacan, Paul de Man), or the retroactive effect of interpretation in the construction of the work. More specifically, Wilde's reading of the riddle of the Sphinx in a passage of this work both theorizes and dramatizes the paradoxical relationship between blindness and insight, in the shape of an ironic prophecy which can (...) be read as Wilde's announcement of his own tragic downfall - in which there is an element of compulsive acting out that has been noted by a number of previous critics. That is, Wilde's Sphinx is used as the vehicle of a riddle about Wilde himself, and is an emblem of his own ambivalent attitude toward the public revelation of his homosexuality. (Note: Downloadable file is in Spanish). (shrink)