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Electra, Elektra, or The Electra[1] (Ancient Greek: Ἠλέκτρα,[2] Ēlektra) is a Greek tragedy by Sophocles. Its date is not known, but various stylistic similarities with the Philoctetes (409 BC) and the Oedipus at Colonus (401 BC) lead scholars to suppose that it was written towards the end of Sophocles' career. Jebb dates it between 420 BC and 414 BC.[3]
When King Agamemnon returns from the Trojan War, his wife Clytemnestra (who has taken Agamemnon's cousin Aegisthus as a lover) kills him. Clytemnestra believes the murder was justified, since Agamemnon had sacrificed their daughter Iphigenia before the war, as commanded by the gods. Electra, daughter of Agamemnon and Clytemnestra, rescued her younger brother Orestes from her mother by sending him to Strophius of Phocis. The play begins years later when Orestes has returned as a grown man with a plot for revenge, as well as to claim the throne.
Orestes arrives with his friend Pylades, son of Strophius, and a pedagogue, i.e. tutor (an old attendant of Orestes, who took him from Electra to Strophius). Their plan is to have the tutor announce that Orestes has died in a chariot race, and that two men (really Orestes and Pylades) are arriving shortly to deliver an urn with his remains. Meanwhile, Electra continues to mourn the death of her father Agamemnon, holding her mother Clytemnestra responsible for his murder. When Electra is told of the death of Orestes her grief is doubled, but is to be short-lived.
Far from being naive naturalists after the Keats[page xvi]fashion, the Greek tragic poets had succeeded to apessimistic reaction from simple Pagan enjoyment; theywere surrounded with gloomy questionings about humandestiny and Divine Justice, and they replied by lookingsteadily at the facts of life and asserting the supremeworth of innocence, equity, and mercy.
4. Of the three Theban plays, the Antigone was firstcomposed, although its subject is the latest. Aeschylusin the Seven against Thebes had already representedthe young heroine as defying the victorious citizens whoforbade the burial of her brother, the rebel Polynices.He allowed her to be supported in her action by a bandof sympathizing friends. But in the play of Sophoclesshe stands alone, and the power which she defies is notthat of the citizens generally, but of Creon, whose willis absolute in the State. Thus the struggle is intensified,and both her strength and her desolation become moreimpressive, while the opposing claims of civic authorityand domestic piety are more vividly realized, becauseeither is separately embodied in an individual will. Bythe same means the situation is humanized to the lastdegree, and the heart of the spectator, although strainedto the uttermost with pity for the heroic maiden whoselife when full of brightest hopes was sacrificed to affectionand piety, has still some feeling left for the livingdesolation of the man, whose patriotic zeal, degeneratinginto tyranny, brought his city to the brink of ruin,and cost him the lives of his two sons and of his wife,whose dying curse, as well as that of Haemon, is denouncedupon him.
But when the decree of fate was revealed by prophecy,Odysseus undertook to bring Philoctetes back, and tookwith him Neoptolemus, whose ambition could only begratified through the return of Philoctetes with the bow.
After some natural hesitation on the part of the village-councillorsof Colonos, Oedipus is received with princelymagnanimity by Theseus, who takes him under the protectionof Athens, and defends him against the machinationsof Creon.
Thus the blessing of the Gods, which Oedipus carried withhim, is secured to Athens, and denied to Thebes. Thecraft of Creon and the prayers of Polynices alike proveunavailing. Then the man of many sorrows, whoseessential nobleness has survived them all, passes awaymysteriously from the sight of men.
Surrounding the column are thirteen sculptures of birds in flight, with wings outstretched, so as to capture the animate spirit of each victim. Milton Townsend, the glass artist hired to create these figurines, states that these thirteen birds are meant to symbolize the thirteen victims of the shooting, each of whom passed on and flew from this world to a new one. The birds themselves are cast in glass and internally illuminated by LED lights. Each bird is carefully positioned atop a fifteen-foot steel stand, allowing the birds to appear as if soaring through the sky.ACA Memorial
Supporting Hands was designed to symbolize donor support to the United Health Services Foundation. Located in the outdoor courtyard at Binghamton General Hospital, the sculpture is a permanent tribute to those who have demonstrated their generosity to the UHS. Artist Yvonne Robare Hobbs was commissioned, June 25, 1985, to design a sculpture to symbolize the caring mission of UHS, while recognizing donor support to the Foundation.
The fountain consisted of a circular pool with an underwater steel ring that released a cone shaped spray. The pool was constructed of a cast in place concrete with a brick cap and was flush with cast place concrete pavement scored in a radial pattern. Although the pool is no longer functional, you can see the concrete circle where it used to be. To the North of the circle is a curved cast in place concrete wall that reflects the shape of the pool. On top of the wall is a painted steel sculpture in the shape of a circle, mimicking the shape of the pool. Viewers standing above can look through the circle down the Chenango River to the confluence of the Chenango and the Susquehanna River.
In 2011 a group (Emily, Sam and Susan Jablon, Kari Bayait, Anthony Santucci, and Chris Long) came together to bring the Promenade new life by incorporating mosaic tiles into the surrounding cement walls. With help from Kari Bayait, project originator, and the Southern Tier Celebrates organization which closed in 2010, this project became a reality. The glass tiles were donated by Susan Jablon Mosaics; the piece was the first mosaic done within downtown Binghamton. The inspiration for this piece was to bring color, joy and happiness to the city. This artistic group wanted people to take pride in Binghamton and this piece was meant to give them hope.
The support emerges from the earth at a 45 degree angle in order to support the horizontal beam twice its size. Crowning this prominent piece is a large open circle with square and cube forms. Originally the artwork was flanked by two still fountains that have since been morphed into the amenities of the apartments.
Since creating this piece, the artist has developed more geometric and lyrical sculptures, as well as paintings on metal, water colors, and acrylics. Her work is never realistic but is concerned with abstraction, emotional mood, and sincerity of materials. You can find her entire body of work on her website.
The Seven Seals of Silence is a three-sided monument standing ten feet tall with a granite base. Attached to the three sides are a total of twelve bronze bas-relief plaques. Particular effort was taken in the positioning and design of this monument such that the sun shines on two sides of the monument at all times, leaving one set of reliefs in darkness.
The image of Lady Justice is a common symbol found across the globe with many different adaptations. But, she always symbolizes fair and balanced justice and the promise of swift penalty. Our lady is holding two iconic symbols: the scales (representing the balance of justice) and a sword (representing the enforcement of justice).
Nathaniel Kaz was born in NYC; however, his family moved to Detroit when he was still an infant. It was in Detroit that he began practicing art and quickly became a recognized child prodigy at the age of 9. With his self-portrait, he took first prize at the Annual Michigan Art Show, defeating professional adults. At the age of 13, Kaz moved out on his own and studied art at Cooper Union under the direction of William Zorach and Aaron Ben-Schmuel. At 14, he worked in NYC reconstructing statues as a part of WPIA creative arts projects. By the age of 29, he had been an art instructor for 14 years. His work is permanently on display in the Metropolitan Museum, the Whitney Museum, and the Brooklyn Museum. He also won first prize in the United Nations contest to create a 60 foot sculpture to be erected in front of the U.N General Assembly building in 1955.
When The Object was formally acquired by the university in the fall of 1967, it was renamed Collegiate Structure. This renaming suggests university administrators might have aimed to associate the work with the pedagogical mission of the university, in such a reading, the interlocking beams of the work provide support to one another in order to buttress the entirety of the structure, similar to how the interdisciplinary environment of Binghamton University aims to provide a multifaceted education. In 1974, when Dickinson College was renamed Dickinson Community, The Object was also renamed, and given the title it holds today.
In formulating his psychology of the unconscious, Freud makes constant reference to Sophocles' version of the Oedipus myth. The author provides detailed proof of the fundamental differences between the two versions, demonstrating that Freud's interpretation does violence to the source. Bollack marshals impressive evidence to substantiate his contention that from the early letters to Fliess all the way up to Moses and Monotheism Freud's sole concern was to point up the ubiquitous power of the unconscious (incestual desire, patricide) within the "holy" (nuclear) family, whereas Sophocles was preoccupied with an entirely different problem. In Bollack's view, Oedipus rex is the drama of the self-destruction of a royal family, a drama in which incest and murder have no very essential significance. Freud, by contrast, set out to de-mystify the fate that dogs the royal family from one generation to the next and to naturalise it into a form of unconscious behaviour--a tendency which Bollack sees as deriving from the tradition of the "drama of destiny", a genre prevalent in the 19th century.
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