Professor Armand D’Angour

Jung famously thought that the Oedipus Complex, in which Freud had suggested that young infant boys want to murder their father and then suppress that, because they want to be at one with their mother, so that sense that they love their mother and kill their father, that we get in the von der Oedipus-Szene, aber Jung hat empfohlen, dass das Vordergrund für Mädchen ein Elektra-Komplex war.

Und ich denke, einer der Gründe dafür ist, dass Elektra ihre Mutter in der Szene klar resenziert und hasst. Und dieses Hasen und Resentiment ist durch die exzessive Liebe und Leidenschaft zu ihrem Vater ausgewertet.

Und ich denke, einer der Gründe dafür ist, dass Elektra ihre Mutter in der Szene klar resenziert und hasst. Und dieses Hasen und Resentiment ist durch die exzessive Liebe und Leidenschaft zu ihrem Vater ausgewertet.

Und ich denke, einer der Gründe dafür ist, dass Elektra ihre Mutter in der Szene klar resenziert und hasst. Und dieses Hasen und Resentiment ist durch die exzessive Liebe und Leidenschaft zu ihrem Vater ausgewertet.

So she can resent her mother and perhaps even ignore her sister's death, which is the justification for Clytemnestra killing Agamemnon, in order to argue strongly that Clytemnestra deserves to die. Also, ich meine, man könnte sagen, es gibt Fragen von Mutter-Töchter-Verhältnissen und Schwester-Rivalität.

So she can resent her mother and perhaps even ignore her sister's death, which is the justification for Clytemnestra killing Agamemnon, in order to argue strongly that Clytemnestra deserves to die. Also, ich meine, man könnte sagen, es gibt Fragen von Mutter-Töchter-Verhältnissen und Schwester-Rivalität.

So she can resent her mother and perhaps even ignore her sister's death, which is the justification for Clytemnestra killing Agamemnon, in order to argue strongly that Clytemnestra deserves to die. Also, ich meine, man könnte sagen, es gibt Fragen von Mutter-Töchter-Verhältnissen und Schwester-Rivalität.

All diese Dinge sind vielleicht unbewusst oder in irgendeinem Fall von der Art, wie dieses Elektra-Spiel ausgeschnitten wird.

All diese Dinge sind vielleicht unbewusst oder in irgendeinem Fall von der Art, wie dieses Elektra-Spiel ausgeschnitten wird.

All diese Dinge sind vielleicht unbewusst oder in irgendeinem Fall von der Art, wie dieses Elektra-Spiel ausgeschnitten wird.

I think that's very interesting to think that the Athenian audience is likely to have been aware of Aeschylus' treatment, where you get indeed, as you say, an eye for an eye, the lex talionis, the notion that someone gets killed, you kill them, a vendetta that runs through this family, was seen as itself a terrible blight and one that in Aeschylus' treatment

I think that's very interesting to think that the Athenian audience is likely to have been aware of Aeschylus' treatment, where you get indeed, as you say, an eye for an eye, the lex talionis, the notion that someone gets killed, you kill them, a vendetta that runs through this family, was seen as itself a terrible blight and one that in Aeschylus' treatment

I think that's very interesting to think that the Athenian audience is likely to have been aware of Aeschylus' treatment, where you get indeed, as you say, an eye for an eye, the lex talionis, the notion that someone gets killed, you kill them, a vendetta that runs through this family, was seen as itself a terrible blight and one that in Aeschylus' treatment

trilogy is finally put to rest by the introduction of law. And this was terribly important, I think, for an Athenian audience, because they had these legal institutions. I mean, that particular case is the Areopagus Court of Athens, which judges the final guilt or innocence of Orestes. But it's like saying, look, you know, if I kill X because X has killed Y, it just goes on and on and on.

trilogy is finally put to rest by the introduction of law. And this was terribly important, I think, for an Athenian audience, because they had these legal institutions. I mean, that particular case is the Areopagus Court of Athens, which judges the final guilt or innocence of Orestes. But it's like saying, look, you know, if I kill X because X has killed Y, it just goes on and on and on.

trilogy is finally put to rest by the introduction of law. And this was terribly important, I think, for an Athenian audience, because they had these legal institutions. I mean, that particular case is the Areopagus Court of Athens, which judges the final guilt or innocence of Orestes. But it's like saying, look, you know, if I kill X because X has killed Y, it just goes on and on and on.

And this kind of vendetta has to come to an end. And how should we do that? Well, both in Aeschylus' Aristaia and in Euripides' play Orestes, which is about Orestes himself coming to judgment in Argos. The solution is that it should be taken to law. And that the law and a court of one's peers should judge whether or not one is guilty and innocent or whether one should be killed or not.

And this kind of vendetta has to come to an end. And how should we do that? Well, both in Aeschylus' Aristaia and in Euripides' play Orestes, which is about Orestes himself coming to judgment in Argos. The solution is that it should be taken to law. And that the law and a court of one's peers should judge whether or not one is guilty and innocent or whether one should be killed or not.

And this kind of vendetta has to come to an end. And how should we do that? Well, both in Aeschylus' Aristaia and in Euripides' play Orestes, which is about Orestes himself coming to judgment in Argos. The solution is that it should be taken to law. And that the law and a court of one's peers should judge whether or not one is guilty and innocent or whether one should be killed or not.

And that then ends this cycle of vengeance. So yes, the audience would have thought, it is terrible that you're just killing someone who's killed someone else. And when will this ever stop? But they would also have known that there is a solution. And the solution is in their own institutions, their own legal institutions.