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Ancient Greek images of disability permeate the Western consciousness: Homer, Teiresias, and Oedipus immediately come to mind. But The Staff of Oedipus looks at disability in the ancient world through the lens of disability studies, and reveals that our interpretations of disability in the ancient world are often skewed. These false assumptions in turn lend weight to modern-day discriminatory attitudes toward disability. Martha L. Rose considers a range of disabilities and the narratives surrounding them. She examines not only ancient literature, but also papyrus, skeletal material, inscriptions, sculpture, and painting, and draws upon modern work, including autobiographies of people with disabilities, medical research, and theoretical work in disability studies. Her study uncovers the realities of daily life for people with disabilities in ancient Greece and challenges the translation of the term adunatos (unable) as "disabled," with all its modern associations.
Ancient Greek images of disability permeate the Western consciousness: Homer, Teiresias, and Oedipus immediately come to mind. But The Staff of Oedipus looks at disability in the ancient world through the lens of disability studies, and reveals that our interpretations of disability in the ancient world are often skewed. These false assumptions in turn lend weight to modern-day discriminatory attitudes toward disability. Martha Rose considers a range of disabilities and the narratives surrounding them. She examines not only ancient literature, but also papyrus, skeletal material, inscriptions, sculpture, and painting, and draws upon modern work, including autobiographies of people with disabilities, medical research, and theoretical work in disability studies. Her study uncovers the realities of daily life for people with disabilities in ancient Greece, and challenges the translation of the term adunatos (unable) as "disabled," with all its modern associations. Martha Rose is Associate Professor of History, Truman State University.
At the outset of the play, Oedipus is the beloved ruler of the city of Thebes, whose citizens have been stricken by a plague. Consulting the Delphic oracle, Oedipus is told that the plague will cease only when the murderer of Queen Jocasta's first husband, King Laius, has been found and punished for his deed. Oedipus resolves to find Laius's killer. His investigation turns into an obsessive reconstruction of his own hidden past when he discovers that the old man he killed when he first approached Thebes as a youth was none other than Laius. At the end, Jocasta hangs herself in shame, and the guilt-stricken Oedipus blinds himself.
If Greek tragedies are meant to be so tragic, why do they so often end so well? Here starts the story of a long and incredible misunderstanding. Out of the hundreds of tragedies that were performed, only 32 were preserved in full. Who chose them and why? Why are the lost ones never taken into account? This extremely unusual scholarly book tells us an Umberto Eco-like story about the lost tragedies. By arguing that they would have given a radically different picture, William Marx makes us think in completely new ways about one of the major achievements of Western culture. In this very readable, stimulating, lively, and even sometimes funny book, he explores parallels with Japanese theatre, resolves the enigma of catharsis, sheds a new light on psychoanalysis. In so doing, he tells also the story of the misreadings of our modernity, which disconnected art from the body, the place, and gods. Two centuries ago philosophers transformed Greek tragedies into an ideal archetype, now they want to read them as self-help handbooks, but all are equally wrong: Greek tragedy is definitely not what you think, and we may never understand it, but this makes it matter all the more to us.
English versions of Sophocles' three great tragedies based on the myth of Oedipus, translated for a modern audience by two gifted poets. Index.
An accessible examination of the evolution of key Sophoclean characters
Adventures, calamities, and conquests abound in stirring tales about Pandora's box, King Midas and his golden touch, the dreaded Cyclops, Narcissus and Echo, and many other familiar figures.
This book explores the answers to fundamental questions about the human mind and human behaviour with the help of two ancient texts. The first is Oedipus Rex (Oedipus Tyrannus) by Sophocles, written in the 5th century BCE. The second is human DNA, with its origins around 4 billion years ago, and continuously revised by chance and evolution. With Sophocles as a guide, the authors take a journey into the Genomic era, an age marked by ever-expanding insights into the human genome. Over the course of this journey, the book explores themes of free will, fate, and chance; prediction, misinterpretation, and the burden that comes with knowledge of the future; self-fulfilling and self-defeating prophecies; the forces that contribute to similarities and differences among people; roots and lineage; and the judgement of oneself and others. Using Oedipus Rex as its lens, this novel work provides an engaging overview of behavioural genetics that demonstrates its relevance across the humanities and the social and life sciences. It will appeal in particular to students and scholars of genetics, education, psychology, sociology, and law.
"To Laius, King of Thebes, an oracle foretold that the child born to him by his queen Jocasta would slay his father and wed his mother. So when in time a son was born the infant's feet were riveted together and he was left to die on Mount Cithaeron. But a shepherd found the babe and tended him, and delivered him to another shepherd who took him to his master, the King of Corinth. Polybus being childless adopted the boy, who grew up believing that he was indeed the King's son. Afterwards doubting his parentage he inquired of the Delphic god and heard himself the word declared before to Laius." -Preface
SHORTLISTED FOR THE 2018 MAN BOOKER PRIZE An eerie, watery reimagining of the Oedipus myth set on the canals of Oxford, from the author of Fen The dictionary doesn’t contain every word. Gretel, a lexicographer by trade, knows this better than most. She grew up on a houseboat with her mother, wandering the canals of Oxford and speaking a private language of their own invention. Her mother disappeared when Gretel was a teen, abandoning her to foster care, and Gretel has tried to move on, spending her days updating dictionary entries. One phone call from her mother is all it takes for the past to come rushing back. To find her, Gretel will have to recover buried memories of her final, fateful winter on the canals. A runaway boy had found community and shelter with them, and all three were haunted by their past and stalked by an ominous creature lurking in the canal: the bonak. Everything and nothing at once, the bonak was Gretel’s name for the thing she feared most. And now that she’s searching for her mother, she’ll have to face it. In this electrifying reinterpretation of a classical myth, Daisy Johnson explores questions of fate and free will, gender fluidity, and fractured family relationships. Everything Under—a debut novel whose surreal, watery landscape will resonate with fans of Fen—is a daring, moving story that will leave you unsettled and unstrung.