In psychoanalytic theory, the Jocasta complex is the incestuous sexual desire of a mother towards her son. [1]
Raymond de Saussure introduced the term in 1920 by way of analogy to its logical converse in psychoanalysis, the Oedipus complex, and it may be used to cover different degrees of attachment, [2] including domineering but asexual mother love – something perhaps particularly prevalent with an absent father.
The Jocasta complex is named for Jocasta, a Greek queen who unwittingly married her son, Oedipus. The Jocasta complex is similar to the Oedipus complex, in which a child has sexual desire towards their parent(s). The term is a bit of an extrapolation, since in the original story Oedipus and Jocasta were unaware that they were mother and son when they married. The usage in modern contexts involves a son with full knowledge of who his mother is.
Theodor Reik saw the "Jocasta mother", with an unfulfilled adult relationship of her own and an over-concern for her child instead, as a prime source of neurosis. [3]
George Devereux went further, arguing that the child's Oedipal complex was itself triggered by a pre-existing parental complex (Jocasta/Laius). [4]
Eric Berne also explored the other (parental) side of the Oedipus complex, pointing to related family dramas such as "mother sleeping with daughter's boyfriend ... when mother has no son to play Jocasta with". [5]
With her feminist articulation of Jocasta Complex [6] and Laius complex [7] Bracha L. Ettinger criticises the classical psychoanalytic perception of Jocasta, of the maternal, the feminine, and the Oedipal/castration model in relation to the mother-child links.
Sophocles is one of three ancient Greek tragedians, at least one of whose plays has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions, and was sometimes defeated by Sophocles; Euripides won four.
Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus accidentally fulfilled a prophecy that he would end up killing his father and marrying his mother, thereby bringing disaster to his city and family.
Creon, is a figure in Greek mythology best known as the ruler of Thebes in the legend of Oedipus.
In Greek mythology, Jocasta, also rendered Iocaste and also known as Epicaste, was a daughter of Menoeceus, a descendant of the Spartoi Echion, and queen consort of Thebes. She was the wife of first Laius, then of their son Oedipus, and both mother and grandmother of Antigone, Eteocles, Polynices and Ismene. She was also sister of Creon and mother-in-law of Haimon.
In Greek mythology, King Laius, or Laios of Thebes was a key personage in the Theban founding myth.
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus, or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from Oedipus at Colonus, a later play by Sophocles. In antiquity, the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did not necessarily have a negative connotation.
In Freudian psychoanalysis, the phallic stage is the third stage of psychosexual development, spanning the ages of three to six years, wherein the infant's libido (desire) centers upon their genitalia as the erogenous zone. When children become aware of their bodies, the bodies of other children, and the bodies of their parents, they gratify physical curiosity by undressing and exploring each other and their genitals, the center of the phallic stage, in the course of which they learn the physical differences between the male and female sexes and their associated social roles, experiences which alter the psychologic dynamics of the parent and child relationship. The phallic stage is the third of five Freudian psychosexual development stages: (i) the oral, (ii) the anal, (iii) the phallic, (iv) the latent, and (v) the genital.
In Freudian psychology, psychosexual development is a central element of the psychoanalytic sexual drive theory. Freud believed that personality developed through a series of childhood stages in which pleasure seeking energies from the child became focused on certain erogenous areas. An erogenous zone is characterized as an area of the body that is particularly sensitive to stimulation. The five psychosexual stages are the oral, the anal, the phallic, the latent, and the genital. The erogenous zone associated with each stage serves as a source of pleasure. Being unsatisfied at any particular stage can result in fixation. On the other hand, being satisfied can result in a healthy personality. Sigmund Freud proposed that if the child experienced frustration at any of the psychosexual developmental stages, they would experience anxiety that would persist into adulthood as a neurosis, a functional mental disorder.
The Infernal Machine, or La Machine Infernale is a French play by the dramatist Jean Cocteau, based on the ancient Greek myth of Oedipus. The play initially premiered on April 10, 1934 at the Theatre Louis Jouvet in Paris, France, under the direction of Louis Jouvet himself, with costumes and scene design by Christian Bérard. The Infernal Machine, as translated by Albert Bermel, was first played at the Phoenix Theatre, New York, on February 3, 1958, under the direction of Herbert Berghof, with scenery by Ming Cho Lee, costumes by Alvin Colt, and lighting by Tharon Musser.
Œdipe (Oedipe) is an opera in four acts by the Romanian composer George Enescu, set to a French libretto by Edmond Fleg. It is based on the mythological tale of Oedipus, as told by Sophocles in Oedipus the King.
Hamlet and Oedipus is a study of William Shakespeare's Hamlet in which the title character's inexplicable behaviours are subjected to investigation along psychoanalytic lines.
The Necklace of Harmonia, also called the Necklace of Eriphyle, was a fabled object in Greek mythology that, according to legend, brought great misfortune to all of its wearers or owners, who were primarily queens and princesses of the ill-fated House of Thebes.
Oedipus Rex is a 1967 Italian film directed by Pier Paolo Pasolini. Pasolini adapted the screenplay from the Greek tragedy Oedipus Rex written by Sophocles in 428 BC. The film was mainly shot in Morocco. It was presented in competition at the 28th Venice International Film Festival. It was Pasolini's first feature-length color film, but followed his use of color in "The Earth Seen from the Moon" episode in the portmanteau film The Witches (1967).
Oedipus is a fabula crepidata of c. 1061 lines of verse that was written by Lucius Annaeus Seneca at some time during the 1st century AD. It is a retelling of the story of Oedipus, which is better known through the play Oedipus Rex by the Athenian playwright, Sophocles. It is written in Latin.
In neo-Freudian psychology, the Electra complex, as proposed by Carl Jung in his Theory of Psychoanalysis, is a girl's psychosexual competition with her mother for possession of her father. In the course of her psychosexual development, the complex is the girl's phallic stage; a boy's analogous experience is the Oedipus complex. The Electra complex occurs in the third—phallic stage —of five psychosexual development stages: the oral, the anal, the phallic, the latent, and the genital—in which the source of libido pleasure is in a different erogenous zone of the infant's body.
The Oedipus complex is an idea in psychoanalytic theory. The complex is an ostensibly universal phase in the life of a young boy in which, to try to immediately satisfy basic desires, he unconsciously wishes to have sex with his mother and disdains his father for having sex and being satisfied before him. Sigmund Freud introduced the idea in The Interpretation of Dreams (1899), and coined the term in his paper A Special Type of Choice of Object made by Men (1910).
Oedipus rex is an opera-oratorio by Igor Stravinsky, scored for orchestra, speaker, soloists, and male chorus. The libretto, based on Sophocles's tragedy, was written by Jean Cocteau in French and then translated by Abbé Jean Daniélou into Latin; the narration, however, is performed in the language of the audience.
Oedipus is a play by the 5th-century BCE Athenian dramatist Euripides. The play is now lost except for some fragments. What survives of the play covers similar ground as Sophocles' acclaimed Oedipus Rex, but scholars and historians have found there are significant differences. In Oedipus Rex, the title character blinds himself upon learning his true parentage, accidentally killing his father and marrying his mother Jocasta. In Euripides' play, however, it appears Oedipus is blinded by a servant of his father Laius, Oedipus' predecessor as king of Thebes. Furthermore, Euripides' play implies Oedipus was blinded before it was known that Laius was his father. Also, while in Sophocles' play Jocasta kills herself, remaining fragments of Euripides' play depict Jocasta as having survived and accompanied Oedipus into exile.
Phoenissae is a fabula crepidata written by Lucius Annaeus Seneca; with only c. 664 lines of verse it is his shortest play. It is an incomplete text in two parts. It is situated in Thebes in Boeotia, the city founded by Cadmus, who came from Sidon, in Phoenicia.
The Laius complex revolves around the paternal wish for filicide, particularly for the extinction of the male heir, in an attempt to ensure one will have no successors.