TY - JOUR A1 - Röhe, Daniel T1 - Oedipus returns to the opera: The repressed in psychoanalysis and musicology JF - International Forum of Psychoanalysis, Vol. 31 (No. 3, 2022), pp. 161-175. N2 - After publishing a psychoanalytic inquiry on Enescu’s and Stravinsky’s Oedipal operas, it seemed worth offering comments about other artistic depictions based on Oedipus’ myth. Josep Soler’s and Xiao-song’s versions were studied in relation to their orientalist sources. Soler’s opera shed further light on Oedipus’ paranoid crisis in his duet with the blind seer. Seneca, Soler’s main inspiration, also influenced Méreaux’s Oedipal opera, which portrays the phantom of Laius requiring vengeance for his murder, a situation similar to the one Freud and Jones commented on in their analysis of Hamlet. Another ghost was found in Pierre Bartholomée’s OEdipe sur la route, which depicts a return of Oedipus’ own complex and its psychopathological comorbidities even after he chastised himself. Psychopathological symptoms were also observed in Sacchini’s version, probably the most famous of all Oedipal operas in its century. Furthermore, the focus now is not only on Oedipal operas, but also on a version of the Jocasta debate. Also attended to in this article are other operas and artistic representations that do not deal directly with the Oedipus myth. A list of 30 Oedipal operas with musical examples offers a fruitful space for debates on psychopathological issues related to the most important complex in psychoanalysis. Y1 - 2022 ER - TY - JOUR A1 - Röhe, Daniel A1 - et al., T1 - Oedipus goes to the opera: Psychoanalytic inquiry in Enescu’s >Œdipe< and Stravinsky’s >Oedipus Rex< JF - International Forum of Psychoanalysis, Vol. 29 (No. 1, 2020), pp. 027-038. N2 - Psychoanalytic inquiry into operas based on the life of Oedipus may provide further knowledge on the Oedipus complex. Therefore, we chose to analyze Enescu’s >Œdipe< and Stravinsky’s >Oedipus Rex<. Two distinct methodologies were used in our study. The first explored the concept of free association through musical themes in the operas. The second involved the comparative study of the Oedipus myth in order to provide a deeper understanding of Oedipus’s character. We observed that Oedipus displayed symptoms of his complex through the traits of aggressiveness and arrogance. Moreover, we noticed that Oedipus was compelled by the necessity of finding out who his real parents were and by unconsciously accomplishing the prophecy. Oedipus assumed the responsibility to free the Thebans from plague. Yet, it was too late, for the feared part of the prophecy was already accomplished. He provided a wrong answer to the Sphinx and then received the most severe punishment, one that would have ostracism as its outcome. It was, however, not too late for Oedipus to finally discover who his real parents were. Nevertheless, afraid of losing his place as King of Thebes, he investigated the plague’s causes. This resulted in his aggression as he resisted discovering >where babies come from.< Y1 - 2019 ER -