Œdipe ou le savoir qui condamne

Lili Fevre
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Abstract

Context

This article is a study at the temporal and thematic intersection of the treatment of the myth of Oedipus in theater. It is based on dramatic works from the Antiquity to the contemporary period. This article does not claim to make a relevant contribution to a purely psychological (or psychoanalytic) debate. However, as Jean-Pierre Vernant maintains, dramaturgical study provides a transdisciplinary perspective necessary for reflection.

Goals

Echoing the words of Hervé Castanet “Psychoanalysis does not give air to literature - on the contrary, when applied, it stops questions and problems” (himself inspired by Lacan's remarks in “Lituraterre”), this study seeks to highlight the plurality and richness of the questions asked by different playwrights. Based on the words of Christiane Page “we do not know what an author wanted to say, we are faced with what he has written, and the links that are woven between the work and its reception depend as much on its artistic approach as well as the reading which is made of it” we will thus seek to demonstrate the restrictive aspect of the Freudian interpretation of the myth of Oedipus.

Method

This article presents itself as a comparative dramaturgical analysis of the rewritings of the myth, enriched by theoretical contributions from plural disciplinary horizons: philosophical, aesthetic and anthropological.

Results

The study of dramatic works allows us to put the Oedipus complex and its myth into perspective. The dramaturgical analysis proposes to go beyond the Freudian understanding of the myth and the character but also acts as a witness to social and societal developments and the impact of the theorization of the complex.

Interpretations

The myth, a tragedy of heredity, goes beyond the complex, depicting an Oedipus victim of destiny and himself and questioning the notion of responsibility. The myth seeks to portray human duality through the representation of an Oedipus with an ambivalent image, going beyond his popular image.

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俄狄浦斯或谴责的知识
本文是对戏剧中俄狄浦斯神话处理的时间和主题交叉的研究。它取材于从古代到当代的戏剧作品。这篇文章并没有声称对纯粹的心理学(或精神分析)辩论做出相关贡献。然而,正如让-皮埃尔·维南特所坚持的那样,戏剧学研究提供了一种反思所必需的跨学科视角。GoalsHervéCastanet的话“精神分析不会给文学带来空气,相反,当应用时,它会停止问题和问题”(他自己受到拉康在《Lituritarre》中的言论的启发),本研究试图强调不同剧作家提出的问题的多样性和丰富性。根据克里斯蒂安·佩奇的话“我们不知道作者想说什么,我们面对的是他写的东西,作品和作品的接受之间的联系在很大程度上取决于它的艺术方法和阅读”,我们将试图展示弗洛伊德对俄狄浦斯神话的解释的限制性方面这篇文章是对神话改写的比较戏剧分析,丰富了哲学、美学和人类学等多学科的理论贡献。结果通过对戏剧作品的研究,我们可以透视俄狄浦斯情结及其神话。戏剧分析提出超越弗洛伊德对神话和人物的理解,同时也见证了社会和社会的发展以及情结理论化的影响。解读这个神话是一个遗传悲剧,超越了复杂性,描绘了一个命运和他自己的俄狄浦斯受害者,并质疑责任的概念。该神话试图通过俄狄浦斯的形象来描绘人类的二元性,俄狄浦尔的形象是矛盾的,超越了他的大众形象。
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