Electra Complex
In Neo-Freudian psychology, the Electra complex, as proposed by Carl Gustav Jung, is a girl's psychosexual competition with her mother for possession of her father. In the course of her psychosexual development, the complexis the girl's phallic stage; formation of a discrete sexual identity, a boy's analogous experience is the Oedipus complex. The Electra complex occurs in the third—phallic stage (ages 3–6)—of five psychosexual development stages: (i) the Oral, (ii) the Anal, (iii) the Phallic, (iv) the Latent, and (v) the Genital—in which the source libido pleasure is in a different erogenous zone of the infant’s body.In classical psychoanalytic theory, the child's identification with the same-sex parent is the successful resolution of the Electra complex and of the Oedipus complex; his and her key psychological experience to developing a mature sexual role and identity. Sigmund Freud instead proposed that girls and boys resolved their complexes differently—she via penis envy, he via castration anxiety; and that unsuccessful resolutions might lead to neurosis and homosexuality.Hence, women and men who are fixated in the Electra and Oedipal stages of their psychosexual development might be considered "father-fixated" and "mother-fixated" as revealed when the mate (sexual partner) resembles the father or the mother.
Oedipus Complex
In psychoanalysis, the Oedipus complex (or, less commonly, Oedipal complex) is a child's desire, that the mind keeps in the unconscious via dynamic repression, to have sexual relations with the parent of the opposite sex (i.e. males attracted to their mothers, and females attracted to their fathers).The Oedipus complex occurs in the third—phallic stage (ages 3–6)—of the five psychosexual developmentstages: (i) the oral, (ii) the anal, (iii) the phallic, (iv) the latent, and (v) the genital—in which the source of libidinal pleasure is in a different erogenous zone of the infant's body. The Oedipal complex originally refers to the sexual desire of a son for his mother and does not have to be reciprocated.Sigmund Freud, who coined the term "Oedipus complex", believed that the Oedipus complex is a desire for the parent in both males and females; he deprecated the term "Electra complex", which was introduced by Carl Gustav Jung in regard to the Oedipus complex manifested in young girls. Freud further proposed that boys and girls experience the complex differently: boys in a form of castration anxiety, girls in a form of penis envy; and that unsuccessful resolution of the complex might lead to neurosis, pedophilia, and homosexuality. A child's identification with the same-sex parent is the successful resolution of the complex.Men and women who are fixated in the Oedipal and Electra stages of their psychosexual development might be considered "mother-fixated" and "father-fixated." In adult life, this can lead to a choice of a sexual partner who resembles one's parent.
>>Oedipus describes the riddle of the Sphinx
Agamemnon
In Greek mythology, Agamemnon was the son of King Atreus and Queen Aerope of Mycenae, the brother of Menelaus, the husband of Clytemnestra and the father of Iphigenia, Electra or Laodike, Orestes and Chrysothemis. Mythical legends make him the king of Mycenae or Argos, thought to be different names for the same area. When Helen, the wife of Menelaus, was taken to Troy by Paris, Agamemnon commanded the united Greek armed forces in the ensuing Trojan War.Upon Agamemnon's return from Troy, he was murdered (according to the oldest surviving account, Odyssey11.409–11) by Aegisthus, the lover of his wife, Clytemnestra. In old versions of the story, the scene of the murder, when it is specified, is usually the house of Aegisthus, who has not taken up residence in Agamemnon's palace, and it involves an ambush and the deaths of Agamemnon's followers as well. In some later versions Clytemnestra herself does the killing, or they act together as accomplices, killing Agamemnon in his own home.
Oresteia
The Oresteia is a trilogy of Greek tragedies written by Aeschylus concerning the end of the curse on the House of Atreusand the pacification of the Erinyes. This play also shows how the Greek gods interacted the citizens and influenced some of their decisions pertaining to events and disputes. The only extant example of an ancient Greek theater trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. Many consider the Oresteia to be Aeschylus' finest work. The principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation.
Aeschylus
Aeschylus was an ancient Greek tragedian. He is often described as the father of tragedy. Critics' and scholars' knowledge of the genre begins with his work, and understanding of earlier tragedies is largely based on inferences from his surviving plays. According to Aristotle, he expanded the number of characters in theater allowing conflict among them; characters previously had interacted only with the chorus.Only seven of his estimated seventy to ninety plays have survived, and there is a longstanding debate regarding his authorship of one of these plays, Prometheus Bound, which some believe his son Euphorion actually wrote. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work. He was probably the first dramatist to present plays as a trilogy; his Oresteia is the only ancient example of the form to have survived. At least one of his plays was influenced by the Persians' second invasion of Greece(480–479 BC). This work, The Persians, is the only surviving classical Greek tragedy concerned with contemporary events (very few of that kind were ever written), and a useful source of information about its period. The significance of war in Ancient Greek culture was so great that Aeschylus' epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright. Despite this, Aeschylus' work – particularly the Oresteia – is acclaimed by today's literary academics.
Extra Information
Flashback
A flashback is an interjected scene that takes the narrative back in time from the current point in the story. Flashbacks are often used to recount events that happened before the story's primary sequence of events to fill in crucial backstory. In the opposite direction, a flashforward (or prolepsis) reveals events that will occur in the future. Both flashback and flashforward are used to cohere a story, develop a character, or add structure to the narrative. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashback to a time before the narrative started.In movies and television, several camera techniques and special effects have evolved to alert the viewer that the action shown is a flashback or flashforward; for example, the edges of the picture may be deliberately blurred, photography may be jarring or choppy, or unusual coloration or sepia tone, or monochrome when most of the story is in full color, may be used.
Flashforward
A flashforward (also spelled flash-forward; also called a prolepsis) is a scene that temporarily takes the narrative forward in time from the current point of the story in literature, film, television and other media. Flashforwards are often used to represent events expected, projected, or imagined to occur in the future. They may also reveal significant parts of the story that have not yet occurred, but soon will in greater detail. It is similar to foreshadowing, in which future events are not shown but rather implicitly hinted at. It is primarily a postmodern narrative device, named by analogy to the more traditional flashback (or analepsis), which reveals events that occurred in the past.
Dramatist, playwright, and tragedianA playwright, also known as a dramatist, is a person who writes plays.The term is not a variant spelling of "playwrite", but something quite distinct: the word wright is an archaic English term for a craftsman or builder (as in a wheelwright or cartwright). Hence the prefix and the suffix combine to indicate someone who has "wrought" words, themes, and other elements into a dramatic form - someone who crafts plays. The homophone with "write" is in this case entirely coincidental.The term playwright appears to have been coined by Ben Jonson in his Epigram 49, "To Playwright", as an insult, to suggest a mere tradesman fashioning works for the theatre. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and so were regarded as the province of poets. This view was held as late as the early 19th century. The term playwright later lost this negative connotation.
Oedipus Complex
In psychoanalysis, the Oedipus complex (or, less commonly, Oedipal complex) is a child's desire, that the mind keeps in the unconscious via dynamic repression, to have sexual relations with the parent of the opposite sex (i.e. males attracted to their mothers, and females attracted to their fathers).The Oedipus complex occurs in the third—phallic stage (ages 3–6)—of the five psychosexual developmentstages: (i) the oral, (ii) the anal, (iii) the phallic, (iv) the latent, and (v) the genital—in which the source of libidinal pleasure is in a different erogenous zone of the infant's body. The Oedipal complex originally refers to the sexual desire of a son for his mother and does not have to be reciprocated.Sigmund Freud, who coined the term "Oedipus complex", believed that the Oedipus complex is a desire for the parent in both males and females; he deprecated the term "Electra complex", which was introduced by Carl Gustav Jung in regard to the Oedipus complex manifested in young girls. Freud further proposed that boys and girls experience the complex differently: boys in a form of castration anxiety, girls in a form of penis envy; and that unsuccessful resolution of the complex might lead to neurosis, pedophilia, and homosexuality. A child's identification with the same-sex parent is the successful resolution of the complex.Men and women who are fixated in the Oedipal and Electra stages of their psychosexual development might be considered "mother-fixated" and "father-fixated." In adult life, this can lead to a choice of a sexual partner who resembles one's parent.
>>Oedipus describes the riddle of the Sphinx
Agamemnon
In Greek mythology, Agamemnon was the son of King Atreus and Queen Aerope of Mycenae, the brother of Menelaus, the husband of Clytemnestra and the father of Iphigenia, Electra or Laodike, Orestes and Chrysothemis. Mythical legends make him the king of Mycenae or Argos, thought to be different names for the same area. When Helen, the wife of Menelaus, was taken to Troy by Paris, Agamemnon commanded the united Greek armed forces in the ensuing Trojan War.Upon Agamemnon's return from Troy, he was murdered (according to the oldest surviving account, Odyssey11.409–11) by Aegisthus, the lover of his wife, Clytemnestra. In old versions of the story, the scene of the murder, when it is specified, is usually the house of Aegisthus, who has not taken up residence in Agamemnon's palace, and it involves an ambush and the deaths of Agamemnon's followers as well. In some later versions Clytemnestra herself does the killing, or they act together as accomplices, killing Agamemnon in his own home.
Oresteia
The Oresteia is a trilogy of Greek tragedies written by Aeschylus concerning the end of the curse on the House of Atreusand the pacification of the Erinyes. This play also shows how the Greek gods interacted the citizens and influenced some of their decisions pertaining to events and disputes. The only extant example of an ancient Greek theater trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. Many consider the Oresteia to be Aeschylus' finest work. The principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation.
Aeschylus
Aeschylus was an ancient Greek tragedian. He is often described as the father of tragedy. Critics' and scholars' knowledge of the genre begins with his work, and understanding of earlier tragedies is largely based on inferences from his surviving plays. According to Aristotle, he expanded the number of characters in theater allowing conflict among them; characters previously had interacted only with the chorus.Only seven of his estimated seventy to ninety plays have survived, and there is a longstanding debate regarding his authorship of one of these plays, Prometheus Bound, which some believe his son Euphorion actually wrote. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work. He was probably the first dramatist to present plays as a trilogy; his Oresteia is the only ancient example of the form to have survived. At least one of his plays was influenced by the Persians' second invasion of Greece(480–479 BC). This work, The Persians, is the only surviving classical Greek tragedy concerned with contemporary events (very few of that kind were ever written), and a useful source of information about its period. The significance of war in Ancient Greek culture was so great that Aeschylus' epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright. Despite this, Aeschylus' work – particularly the Oresteia – is acclaimed by today's literary academics.
Extra Information
Flashback
A flashback is an interjected scene that takes the narrative back in time from the current point in the story. Flashbacks are often used to recount events that happened before the story's primary sequence of events to fill in crucial backstory. In the opposite direction, a flashforward (or prolepsis) reveals events that will occur in the future. Both flashback and flashforward are used to cohere a story, develop a character, or add structure to the narrative. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashback to a time before the narrative started.In movies and television, several camera techniques and special effects have evolved to alert the viewer that the action shown is a flashback or flashforward; for example, the edges of the picture may be deliberately blurred, photography may be jarring or choppy, or unusual coloration or sepia tone, or monochrome when most of the story is in full color, may be used.
Flashforward
A flashforward (also spelled flash-forward; also called a prolepsis) is a scene that temporarily takes the narrative forward in time from the current point of the story in literature, film, television and other media. Flashforwards are often used to represent events expected, projected, or imagined to occur in the future. They may also reveal significant parts of the story that have not yet occurred, but soon will in greater detail. It is similar to foreshadowing, in which future events are not shown but rather implicitly hinted at. It is primarily a postmodern narrative device, named by analogy to the more traditional flashback (or analepsis), which reveals events that occurred in the past.
Dramatist, playwright, and tragedianA playwright, also known as a dramatist, is a person who writes plays.The term is not a variant spelling of "playwrite", but something quite distinct: the word wright is an archaic English term for a craftsman or builder (as in a wheelwright or cartwright). Hence the prefix and the suffix combine to indicate someone who has "wrought" words, themes, and other elements into a dramatic form - someone who crafts plays. The homophone with "write" is in this case entirely coincidental.The term playwright appears to have been coined by Ben Jonson in his Epigram 49, "To Playwright", as an insult, to suggest a mere tradesman fashioning works for the theatre. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and so were regarded as the province of poets. This view was held as late as the early 19th century. The term playwright later lost this negative connotation.
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