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This paper examines an unexpected encounter, and the conversation that unfolds, between Orestes, the ancient Greek prince, and Parashuram, the ancient Indian sage. This dialogue, found in Sisir Kumar Das' Bengali collection Aloukik Sanglap (Unearthly Dialogues, 2011) contains a series of speculative conversations, in modern Bengali, between ancient Greek and ancient Hindu characters, forming a fascinating triangulation of cultures. But how does such a conversation become possible? What does such an impossible translation bring to light? This paper will analyze the dialogue titled Dui Matrighati ("Two matricides"), referring to Orestes' and Parashuram's crime of murdering their own mothers. Drawing on the works of thinkers like Judith Butler, Julia Kristeva, Emanuela Bianchi, and Iris Young, I will consider how ancient Greek and Hindu thinking about the maternalfeminine (fails to) translate into each other. I shall read this dialogue in the context of ancient representations of the mother, the law of the father in psychoanalysis, and the possibility of unpredictable friendships grounded on the untranslatable. [ABSTRACT FROM AUTHOR]

Euripides' Iphigenia among the Taurians is surprisingly vague about the intentions of both Artemis and the Furies, despite their centrality to the plot. This paper argues (against most scholarship) that Euripides' Artemis condones human sacrifice, though the Greek characters do not realize this, and the poet uses the story of Iphigenia to examine the social repercussions of a conflict between divine and mortal valuations of human life. As others have seen, the cult to be founded at Halae resolves this particular conflict—but without explaining how Orestes is saved from the Furies, which is only achieved through his voluntary submission to be killed. [ABSTRACT FROM AUTHOR]

A literary criticism is presented in which the author discusses various creations based on the Greek mythological story of Orestes. The dramas focused on here include the "Oresteia," by Aeschylus, and "Macbeth," by William Shakespeare. The article analyses the significance of the languages the authors have used in these dramas, and also distinguishes their style of writing.

In this article, I propose a particular linguistic interpretation of the first three lines of Euripides' Orestes which applies, by extension, to the play as a whole. I first argue that ὧδ᾽ εἰπεῖν ἔπος is a parenthetical limitative infinitive and should be translated 'almost', by analogy with the prose idiom ὡς ἔπος εἰπεῖν. Based on this reading, I suggest that lines 1-3 introduce three leitmotifs: negation, τὸ δεινόν, and anti-climax; I identify further examples in Electra's prologue speech, especially the Tantalus exemplum. I conclude that Orestes is a drama of anti-climax; and that the first three lines of the play, and the prologue speech which they introduce, make sense as a programmatic statement of that dramatic conception. [ABSTRACT FROM AUTHOR]

The article discusses how the dialectical philosophy of history of German social theorist Theodor W. Adorno is reflected in Adorno's essay "Zum Klassizimus von Goethes Iphigenie," originally published in the journal "Neue Rundschau" in 1967. Topics considered include Adorno's understanding of classicism in literature, particularly in the works of German author Johann Wolfgang von Goethe, his ideas about myth in literature, and the figure of Orestes in Goethe's play "Iphigenie auf Tauris."

For centuries, the myth of the Oresteia has been one of the pillars of patriarchal cultures. The revisionist trend that has appeared in European literature in the last decades urges the establishment of a new symbolic order that embraces maternal genealogies. I sogni di Clitennestra (1981) by Dacia Maraini and Clitemnestra (1986) by María José Ragué-Arias rewrite the Orestes myth from a feminist perspective, warning about the dangers involved in the perception of the mother as a monstrous and phobic object that must be eliminated. Their works show that psychic matricide is not a viable way to acquire subjectivity, since it is based in masculine anxieties and in absolute identification with the father, which is in turn the base for a society also founded on violence. Maraini and Ragué-Arias vindicate Clytemnestra while denouncing the violence inherent to the patriarchal order of Western societies. [ABSTRACT FROM PUBLISHER]

A literary critique is presented of the play "Les Mouches" by Jean-Paul Sartre, which the author says reinterprets the myth of Orestes as depicted in the plays by ancient Greek playwright Aeschylus in order to comment on the German Nazi occupation of France during World War II. The author describes the play's interpretation by philosophers Walter Kaufmann and Jean-François Louette, and the relationship between Sartre and philosopher Friedrich Nietzsche.

The cycle of revenge and its resolution depicted in the ancient Greek tragedies dealing with the children of Agamemnon and Clytemnestra has engaged the minds of a number of South African playwrights who witnessed the attempts made by means of the Truth and Reconciliation Commission to ensure that there would not be violent retribution for past wrongs in the transition from the minority regime to full democracy in the 1990s. The same myth cycle inspired Fugard’s Orestes in 1971. The contrast between his interpretation and those of the three directors, who staged their versions in the years following the transition to full democracy, shows how the changes in political life have impacted on readings of the myth. The article analyses Fugard’s Orestes, Fleishman’s In the City of Paradise, McMurtry’s Electra and Farber’s Molora as examples of post-colonial engagement with the Classics. It shows how the plays have been integrated into South African reality by means of language, style and staging, but have also preserved the universal validity of the themes with which they engage. [ABSTRACT FROM PUBLISHER]

Greek tragedy launched many heroes (and anti-heroes), two of which are particularly remarkable through their strenuous and perilous glory: Oedipus and Orestes. Although at first sight the two masculine characters are each other's obverse facet, the twentieth century managed (albeit rarely) to contaminate and relate them partially, at least insofar as Eugene O'Neill's Mourning becomes Electra and the lesser known Orestes & Oedipus by French author Olivier Apert are concerned. [ABSTRACT FROM AUTHOR]

The paper argues that the story of Oedipus, however understood, conveys psychic truth of no greater or more central importance to human development than do the stories of many other myths. A distinction is made between sophisticated theories developed out of Freud's original concept of the Oedipus complex, and the adherence by some clinicians to his original sexual theory. The meaning of Sophocles' play Oedipus the King is found to lie in the clash between Oedipus' omnipotent narcissism ( hubris) and the power of the unconscious psyche, rather than in cross-generational sex. Emphasis is placed on the clinical usefulness of understanding all myths symbolically. The Oresteia by Aeschylus is offered as a story about pre-Oedipal (in the Freudian sense) psychic states. This trilogy shows symbolically the developing of an ego, the establishment of moral judgement and the integration of our shadow (the Furies). It also shows the parallel development of structures of law in society to replace instinctive blood feuds. It is suggested that had Freud chosen Orestes instead of Oedipus, the course of both psychoanalysis and of Western society would have had a different emphasis. [ABSTRACT FROM AUTHOR]

The article focuses on the perceptions of the visual culture of the 18th century of the Greek mythology heroine Electra. The heroine's devotion to her father Agamemnon and love for her brother Orestes are said to have been the focus of the paintings of artist John Flaxman on Electra. While Angelika Kauffman portrayed the collaboration of sisters between Electra and her sister. It notes that such deliveries is necessary in order to be accepted by the eighteenth century audience.

Juvenal's synkrisis between Orestes and Nero climaxes with the statement that the former never played Orestes; the implied antithesis, that Nero did play Nero, gains point from the princeps' practice of wearing masks resembling his own face. This blurring of the distinction between 'playing Nero' and 'playing Orestes' problematizes the princeps' identity. This problematization is furthered by the peculiarities of Orestes, who in various tragic plots repeatedly either plays other roles or is himself impersonated. This is part of Satire 8's wider exploration of identity as underdetermined by ancestry and the inadequacy of names as signifiers. The further statement that Orestes never wrote a Troica is illuminated by its intertextual engagement with Callimachus Epigr. 59 G-P, in which the poet's loss of his 'Pyladeses' through writing a play contrasts with Orestes' omission of this final act of madness. The Callimachean Orestes thus keeps distinct the roles of tragedian and tragic hero, poet and character, thereby foregrounding Nero's failure to maintain this distinction. By blurring his identity with that of Paris in both his epic and his alleged burning of Rome, Nero confuses the categories of artist and perpetrator, creator and character, just as he and Orestes confuse those of actor and role. [ABSTRACT FROM AUTHOR]

The article discusses the concept of choice in the context of psychoanalysis and the mythical tale of Orestes, who killed his mother and her lover, to show the converging themes in ancient Greek texts and clinical work. It cites the motives that compelled Orestes to do such act including ambivalent love, jealousy and guilt which create the concept of states of mind. In the author's view, choice viewed in psychoanalytic setting affects the configuration of transference and countertransference.

An interview with Edward Bond, a playwright and essayist on drama and theater, is presented. Edward asserts that he considers "Born," a third play to be produced in Paris, as the Colline Tetralogy, where Colline is the name of the theater. He says that he was interested for a long time to write the play "Coffee," which is related to an accident that happened in the Second World War. He also asserts that he would put the problems of Orestes and Oedipus together in a play.

Analyzes the Oresteian structure in the play "The Iceman Cometh," written by Eugene O'Neill. Storyline of the play; Representation of Oresteian views in the play; Depiction of Greek mythology in the play.

The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages' utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general "liveliness" and the "liveliness" of characters' utterances. Certain differences in the metrics and rhythmics of the main and minor characters' verses become most obvious when we compare Electra's part with minor characters (e. g., in Electra's part there is always the biggest proportion of lyrical parts, more unstandard settlements, more verses with splits than any other character). The index of liveliness of Electra's part is almost the same in all the authors. Although the same tendencies in Orestes are more schematical, the metrics and rhythmics of his utterances are rather similar to those of Electra. Thus, in respect of the proportion of lyrical verses, he always comes second after Electra; he also has quite many split verses. The parts of minor characters are usually made up entirely of iambic trimesters, the rhythmical variety of their speeches is higher than average, but there are no splits in their parts (except for Aegisthus). However, there are characters which parts have unstandard rhythm, e.g., the pedagogue in Sophocles or Chrysothemis, who is a contrast to Electra by her nature as well as her rhythmics. The contrast with other minor characters is even bigger. Clytaemnestra's part is both rhythmically and metrically intermediate: in Aeschylus her utterances consist entirely of iambic trimeters, but in Sophocles and Euripides she pronounces also a couple of lyrical verses. There are also some splits in her verses which usually do not occur in minor persons. [ABSTRACT FROM AUTHOR]

This article focuses on the play "Orestes," by Charles L. Mee. Euripedes' "Orestes" is a play of transvaluation, of Athenian policies during the Peloponnesian War, and the validity of the ancient myths. "Orestes" by Mee, is a play of transvaluation of the present age. By recreating the classical tragedy on the ruined landscape of the contemporary world, he implies that the nightmare drama of moral chaos once again has found its audience. In 1920 Max Ernst and Hans Arp, two painters at the center of the movements known as Dadaism and Surrealism, collaborated on a series of collages which they called Fatagaga.

The article presents a discussion of Greek mythology "Eumenides," in which it is stated that Orestes sung a prayer in front of a wooden statue of deity Athena and Apollo in Athens, Greece. The prayer is known as "binding song." According to the author, it was believed that the binding song was a judicial curse tablet, which affected the outcome of law cases in Athens. It is mentioned that the law discussing Plato's murder by poison also makes a mention of the popular belief in magicians, incantations, and binding spells.

The article presents a discussion involving Aeschylus' dramatic technique with regards to his religious conceptions. The author examines in detail what happens at the end of Cho. and the beginning of Eum., and how the Furies are depicted thereafter. The author attempts to extend his findings by discussing how different plays of the trilogy present supernatural forces in general. According to the author, with regards to Orestes, Aeschylus has been presenting conventions of Greek tragedy, not a miraculous and impossible event, but through one that could plausibly happen in real life.

Discusses the Greek poem "Choephoroi," verses 691-699. Reaction to the false news of the death of Orestes, the son of King Agamemnon and Clytaemnestra; Clytaemnestra's sudden abandonment of hypocrisy; Orestes' termination of the domination of the household by Clytaemnestra and Aegisthus.

Examines the theatrical logic of the recognition scene in the play "Choephoroi." Representation of the recognition scene of Orestes and Electra; Impediment of the choreography and break up the symmetrical patterning of strophe and antistrophe by a special structure set up in the orchestra; Ease of playing the recognition scene because of the physical distance between tomb and hiding place.

The article discusses about the potential connection between the self-presentation of Augustus and that of the myth about Orestes. According to the article, among the things that made people think of a probable link between the presentations about Augustus and the myth of Orestes are the apparent assassination of Caesar, Augustus' legal father, which is attributed to the anticaesarian party, whose advocates are Antonius and Cleopatra. These two advocates are seen as a representation of the killers of Orestes father which are Aegisthus and his lover Clymnestra, the mother of Orestes.

This article examines the animalization of Nero in Book 4 of Philostratus' Life of Apollonius of Tyana and focuses, in particular, on Apollonius' surprising claim that Nero dared to do what no wild beast ever did, namely, devour his own mother (4.38.3–4). It argues that Apollonius' words evoke widespread beliefs about the reproduction of vipers, and that Philostratus took full advantage of connections that were active in the collective imaginaire —between young vipers, Orestes and Alcmaeon, and Nero—in order to present Agrippina's murder as an act of bestial cannibalism and, thus, Nero as a monstrous creature completely beyond redemption. [ABSTRACT FROM AUTHOR]

Discusses the different interpretations of Orestes' invocation to Athena's aid against the pursuing Erinyes, as he arrives in Athens. Contemporary political reference and ritual significance of the passage; Conflicts between the sexes and between the generations in Eumenides.

The article focuses on Greek literary writer Euripides' work "Orestes." Students of the play have not appreciated the merits of critic W. Dindorf's proposal to delete lines from the text. Nevertheless, the arguments in favor of not deleting are even more powerful than Dindorf realized. Absolute certainty in these matters is not to be attained, but these lines impair their context and should probably be excised. Nevertheless, in view of the difficulties posed, it is better to argue that the lines are the invention of an actor.

Argues about the significance of the experiential factor in passages of the furies in Choe. and AG.

This article focuses on the book "Tamburlaine the Great, Part One." Their conversation begins with a lengthy account of the adoration and sacrifices paid to Orestes and Pylades by the Scythians because of their virtue, boldness, and comradeship. They are even honored with festivals and pilgrimages. Assigned to them is a temple, the Oresteion, within which there stand bronze tablets inscribed with an account of all their deeds. Local children are required to study these and commit them to memory. In the temple close may be seen paintings representing their adventures in Scythia.

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Discusses the probable parallelism between Orestes and Octavian in Virgil's `Georg. 1.511-4. Resemblance between history and myth; Engraving of the name Augustus in a statue representing Orestes.

The article presents the schedule of the Twentieth Century Club lectures on illustrations of ancient Greek and English tragedy by Richard G. Moulton in 1907. There are recitals of the plays "Macbeth" and "Alcestis". Three recitals will give the interpretation of the story of Orestes by Euripides, Sophocles, and Aeschylus.