The hypothesis I wish to advance in this article is that Jocasta embodies the pivotal figure around which the meaning of Sophocles’ Oedipus rex turns. Sophocles concealed the powerfulness of Jocasta by the puzzling veil of the dramatic conflict between the characters involved in the action and their diverging points of view on it. In order to lift this veil, I propose to retrace the story of the reception of Sophocles’ text, focusing the critical attention on the passage from Nietzschean conception of tragedy as the confrontation between the Hero and his allegorical mother, Nature, to the structuralist (Lévi-Straussian and Lacanian) understanding both of the myth of Oedipus and of the so-called Oedipus complex. In retracing this story, I attach particular importance to an exceptional intermediary text, Oedipus rex by Stravinskij-Daniélou, which must be considered not only as a verbo-musical re-writing of the Sophoclean tragedy, but also and primarily as a penetrating act of interpretation whereby the matrifocal reading of the ancient Greek masterpiece is restored and recovered.

Oedipus rex di Daniélou-Stravinsky alla luce della drammaturgia sofoclea

Giocasta, vista d'altrove: memoria e oblio della Voce Tragica tra Nietzsche, Daniélou-Stravinskij e l’interdetto strutturalistico.

STELLA Massimo


Oedipus rex di Daniélou-Stravinsky alla luce della drammaturgia sofoclea
Anno XIV, 12
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