Search results

1

Dziecko jako ofiara wojny w tragediach Eurypidesa i Seneki w świetle sceny z Astyanaksem

100%

Budzowska M., Łódzki U.

Collectanea Philologica

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2004

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vol. 08

LA

Dissertatur de aspectu infantis, qui belli victima est, apud Euripidem et Senecam.

2

Wątki tragedii Eurypidesa w twórczości Achilleusa Tatiosa

100%

Zawadzki R. K., Wyższa Szkoła Pedagogiczna w Częstochowie

Collectanea Philologica

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2004

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vol. 08

DE

Ein interessantes Problem, das mit der Genese des antiken Romans verbunden wird, ist der Stoff, das Material, das die Inspiration der Schriftsteller bildete.

3

Problem antycznej ekfrazy teatralnej. Część II: Scenografia

100%

Czerwińska J.

Collectanea Philologica

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2018

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issue 21

59-74

EN

One of the dramatic ekphrasis forms is the ekphrasis of stage design. It describes what is usually made visible, at least partially, to the public, drawing its attention to important elements of scenography that played a significant role in the performance. Therefore it was necessary to make the spectators aware of those elements. They were used by all three tragedians: Aeschylus, Sophocles and Euripides. The article focuses on selected ekphrases of scenography taken from three Euripidean tragedies: Iphigenia in Tauris, Ion, Alcestis, and on their role in the structure of drama.

4

Problem antycznej ekfrazy teatralnej. Część I: Postać

100%

Czerwińska J.

Collectanea Philologica

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2018

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issue 21

39-57

EN

Ekphrasis is one of the forms that the Greek tragic dramatists used in their plays. From a dramaturgical point of view it was a very important element of play strictly connected with the conventions of the ancient theater. The examples taken from the Euripidean tragedy will be used to demonstrate the ways the ancient Greek tragedians applied ekphrasis in their works. Their review will start with descriptions, which can be conventionally called the ekphrasis of the theatrical “mask”. The term mask is understood here not sensu stricto as a part of actor’s costume, but as having a reference to what it hides. This type of ekphrasis may be found in visually inaccessible to the public of the Greek theater face of dramatis personae that is hidden behind the mask. It concealed facial expressions, so important to understand the action of the drama itself, as well as the role played by the actor. It is impossible to overestimate the importance of this dramaturgical element as a non-verbal means of communication which harmonizes with the text of play and its action and is crucial to perceive the intended meaning of the actors’ words.

5

Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część II: Mneme w utworach Eurypidesa

100%

Narecki K.

Collectanea Philologica

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2018

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issue 21

25-38

EN

Study on the concept of mneme – “memory” in the plays of Euripides is a continuation of our research (based on the works of Greek tragedians), whose aim is not only to establish meanings, especially new ones, but also to define the role that this concept plays in the works of Euripides. Linguistic and literary analysis of 8 instances of a noun mneme shows that this concept reveals hitherto unknown semantic values and it also performs functions that are important for the plot. Among the meanings of mneme there are five new ones: (1) “testimony, proof” (Suppliant Women), whose role is a ‘media’ message to guarantee the preservation of memory about Theseus’ feats among descendants, (2) “account, balance” (Heracles), rational argument, which the hero must use in a critical situation caused by divine power, (3) specific “history”, which creates the plot (Ion), (4) “reason, rightness” (Iphigenia at Aulis), i.e. evidence of predominance of the woman over the man (in terms of character), (5) “image”, twice in this sense (Iphigenia at Aulis): 1. as a panorama, vivid memory of panegyric and cognitive nature (Greek expedition), 2. as scenes from Iphigenia’s childhood cited in order to change the decision of Agamemnon. In addition to the new ones, Euripides also uses known meanings: mneme with negation, i.e. the lack of “mentions, memories” (= concealment) becomes an important element of the plot of Helen, guaranteeing its happy ending; in turn mneme as Kreon’s “thought” is a tool for mastering feelings and influencing the development of stage events. All meanings defined by Euripides can be divided into two groups. The first group includes meanings that have rational value: (1) “account, balance”, (2) “thought”, (3) “reason, rightness”. In the other group there are expressive meanings: (1) “testimony, proof”, (2) “mention, memory”, (3) “history”, (4) “image”. Undoubtedly, Euripides not only broadened the semantic scope of the concept of mneme, introducing its new values, but creatively used them in his plays, whether to describe the main characters, or as an element influencing the action, or finally as a testimony of the past that is important for the plot.

6

L’Inde dans la mise en scène des chefs-d’oeuvre européens d’Ariane Mnouchkine

88%

Hasiuk M.

Collectanea Philologica

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2016

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issue 19

77-90

EN

The text discusses influences and oriental inspirations, mainly Indian and Japanese, present in the staging of Shakespeare’s plays (Richard II, Henry IV, Part I and Twelfth Night), Euripides (Iphigenia at Aulis) i Aeschylus (Oresteia) in the Théâtre du Soleil. Owing to the incorporation of ‘the imagined orient’ in the Shakespearean cycle, Mnouchkine evoked the image of the world immersed in the supernatural. Placing Iphigenia at Aulis before Oresteia, the director created her own tetralogy. Consciously applying staging strategies, she did not use Greek documents but instead combined documentation from Turkey and the Caucasus with oriental traditions such as kathakali and bharata-natyam. Drawing on references which were unknown (or long since forgotten) and never before used, she staged ‘probably the richest and the most satisfactory of all productions of Athenian tragedies’ (Ubersfeld).

7

Eurypidejska "Andromeda": stan zachowania i próba rekonstrukcji fabuły

88%

Piątkowski M.

Collectanea Philologica

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2011

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vol. 14

LA

Secundum mythologiam Graecam Andromeda filia Cephei e Cassiepeiae erat. A patre suo ad terram propriam a monstro marino conservandam sacrificata, a Perseo liberata est, qui Andromedae narrationem audivit, eam amavit et cum ea coniunctus est. Hic mythus Euripidem ad tragoediam scribendam hortatus est, Andromedam, quae tamen usque ad tempora nostra non conservata est - hodie solum fragmenta eius habemus. Probabiliter hoc in opere auctor opem affectuum spectatoribus demonstrare desiderabat; eo ipso de vi amoris ardentis disceptatur, qui homines improviso capere potest. Ad fabulam restituendam res ab Euripide exposita cum Aristophanis comoedia (Thesmophoriazusae) confertur, quae fabulam ab Euripide narratam continet. Hoc in modo Aristophanes fabulam propriam facilius ad finem adduxit.

8

Politicising Euripides: A Mouthful of Birds by Caryl Churchill and David Lan

88%

Kamińska A.

Anglica Wratislaviensia

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2016

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issue 54

23-32

EN

The article discusses A Mouthful of Birds by Caryl Churchill and David Lan in terms of its relation to its Greek inspiration: Euripides’ Bacchae. Contrary to Michael Billington’s opinion that the fascination with the classics which dominated the 1980s theatre in Britain led to the emergence of an ‘interpretative culture’ motivated by artists’ inability to address current political issues, the article analyses a 1980s play that uses its classical source precisely to make political statements. In the course of the article the intertextual links between A Mouthful of Birds and The Bacchae are analysed with special focus on the politics motivating the modern text. Julie Sanders’ theory of literary appropriation is used to discuss selected themes addressing feminist, postcolonial and gender politics.

9

Rituál, válka, oběť a sňatek na českém jevišti: případ Ífigenie v Aulidě

88%

Sarkissian A.

Listy filologické (Folia philologica)

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2013

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vol. 136

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issue 3-4

443-472

EN

The article discusses the issue of ritual in the productions of Greek tragedy, dealing with the case of ritual as an important organizing principle of the text itself. Productions of Iphigenia at Aulis on Czech stages is chosen as a case study, since the play was staged very often and in diverse contexts from the beginning of the 80ies. Several kinds of rites of passage appear in the Iphigenia at Aulis: marriage, achieving maturity through war, death and burial. They are all tainted and degraded in the play. Most of the characters subvert their purpose – with the exception of Iphigenia, who seeks to confirm the meaning of her life through her death. Czech productions do not use ritual as a means of inducing unity between performers and spectators that would take part at the event as it is in Richard Schechner’s Dionysus in 69, or in Grotowski’s experiments and work. Despite that, many references to ritual appear in the productions: the study analyzes the use of the stage space and props, shaping of relations among the characters, their actions and acting in relation to how they express the meaning and value of ritual in each production.

10

Ein vieldiskutierter Imperativ: Euripides, Elektra 140

88%

Seidensticker B.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 1

227-234

EN

The article argues that in line 140 Electra does not address an anonymous servant but herself.

11

The Tradition of the Ionian Colonisation of Asia Minor: Remarks on the Sources

75%

Kuciak J.

Electrum

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2013

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vol. 20

9–22

EN

This article discusses the tradition of the Ionian colonisation preserved in ancient literary sources. The author focuses on the time and circumstances in which the view that the Athenians were responsible for the Ionian colonisation emerged. He also examines whether there is any support in the sources for the opinion expressed by some historians that such a belief was already strong in the Archaic period.

12

Szalony protagonista Eurypidesowego „Orestesa” w komentarzach scholiastów

75%

Czerwińska J., Chiżyńska K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 1

63-78

EN

Madness is a constant motif in ancient literature. It was often used by playwrights, including the three greatest tragedians of the Classical Greece: Aeschylus, Sophocles and Euripides. One of the most interesting plays dealing with issues of madness is Euripidean Orestes. This play has received numerous commentaries written by scholiasts, who described all aspects of the state of mania. The article is devoted to the analysis of madness and the corpus of texts are scholia describing Orestes’ disease. Commentaries allow us to establish a definition of mania, show its sources and describe its various physical and mental symptoms. The material presented in the article shows how interesting the phenomenon of madness was for the scholiasts.

13

Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki (Luctus est istic tuus,/ crimen novercae. Divine and human madness of Heracles according to the dramas by Euripides and Seneca)

75%

Karamucka M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2013

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vol. 23

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issue 2

113-128

PL

The article aims to examine the tragedies: Ήρακλής μαινόμενος by Euripides and Hercules Furens by Seneca and exactly the different types of the madness, by which the main character is overcome in the above mentioned dramas. Although the article touches also on the issue of the insanity sent to the hero by Hera/ Juno, concentrates especially on the fit of madness, that is here defined as a human madness.

14

Psychotic phenomena in Euripides’ Heracles

75%

Stróżyński M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

The article is an attempt at the psychoanalytic interpretation of the Euripidean Heracles. The theory used to explain psychological phenomena of the play is Melanie Klein’s concepts of the paranoid-schizoid and depressive position, as well as contributions to the understanding of psychotic thinking made by her followers: Hanna Segal, Wilfred Bion, Herbert Rosenfeld, and John Steiner. Characters in the play, in their speech and behaviour, as well as in the chorus’ songs, reveal a significant number of primitive psychological mechanisms, such as splitting, denial, idealisation and projective identification. The analysis of those mechanisms expressed in literary material allows to see the much argued continuity of Euripides’ extraordinary play.

15

Zjawiska psychotyczne w 'Heraklesie' Eurypidesa

75%

Stróżyński M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2011

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vol. 21

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issue 2

109-143

EN

Euripides’ Heracles has drawn the attention of numerous scholars, since Willamowitz’s excellent commentary on the play. The play has been seen as lacking unity, full of contradictions, incoherent, bizzarre even. Later critics tried to show structural unity, especially by analyzing recurrent motifs and ideas. The madness was being explained by Willamowitz, Verrall, Pohlenz, Grube and others with reference to Heracles’ inner process, of a “megalomaniac” character. Such psychological interpretations of madness were widely questioned in the second half of the 20th century, and Heracles himself provoked extreme reactions and opinions of scholars. In the article Heracles’ madness is considered a central theme of the play, expressed both in the fragmented and split structure of it and in the contradictions and bizzarre elements within the tragedy. I used Melanie Klein’s (especially, the concepts of the paranoid-schizoid and depressive positions as well as of primitive defense mechanisms) and her followers’ (especially, Segal’s notes on symbol formation and Bion’s theory of psychotic thinking) theory to show the essentially psychotic character of the play. The dramatis personae, in their behavior and words manifest such psychotic mechanisms as splitting, denial, idealization, projective identification, omnipotent control as well as primitive envy. The gods can be seen as projections of Heracles and other characters, as well as of the common unconscious space of the play (“the analytical third” of the tragedy, to use Thomas Ogden’s concept). The climactic Heracles’ madness is understood as a breakdown of psychotic defense mechanisms, cause by intense, yet split off, envy and by a powerful threat to dependent parts of the self, symbolized in Heracles’ children and wife. The whole tragedy is a way from the world of fantasy, gods, underworld towards more realist world of human beings and their relationships, which in Kleinianism can be conceptualized as a movement from the paranoid-schizoid position to the depressive one.

16

Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies

65%

Śmiechowicz O.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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vol. 29

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issue 2

5-16

PL

In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.

17

Pajdeutyczny wymiar postaci mitologicznych w literaturze greckiej i komentarzach scholiastów

63%

Czerwińska J., Uniwersytet Łódzki W. F.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2015

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vol. 08

PL

W artykule zostaje podjęty problemem typu bohatera i antybohatera wykreowanego w literaturze przez antyczną kulturę grecką. Z uwagi na to, że problem ten w aspekcie diachronicznym jest bardzo szeroki, dlatego, chcąc dokonać jego pogłębionej analizy, konieczne jest zawężenie pola badawczego. Artykuł podejmuje zatem omawianą kwestię w eposie Homera, przy czym zostają w nim zestawione stworzone przez epika paradygmaty postaw bohaterów mitologicznych z postaciami wykreowanymi przez Eurypidesa. O wyborze tym zadecydował fakt, że utwory obu poetów możemy uznać za reprezentatywne dla ukazania świata wartości epok, w których tworzyli, oraz to, że u wymienionych poetów te same postacie mitologiczne podlegają niekiedy zupełnie odmiennej waloryzacji.

EN

The paper discusses the types of heroes and anti-heroes established in literature by ancient Greek culture. In order to provide a full treatment of the subject, which in its diachronic aspect is very broad, the field of research has been limited. As a result, the present paper analyzes examples of mythological figures in the epic poems of Homer in juxtaposition with those found in Euripidean drama. The two authors have been chosen in view of the fact that their works are model representations of the values of their times as well as of the noticeable differences between them in evaluating the same mythological figures.

18

Poeta tłumacz w czasie wielkiej wojny. Przekłady Jana Kasprowicza w latach 1914–1918

63%

Bąbiak G. P.

Poradnik Językowy

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2022

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vol. 799

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issue 10

237-251

EN

The text presents Jan Kasprowicz’s translation work during the First World War. It discusses the War’s contribution to the concentration on this form of literary activity and to the selection of the works by the most distinguished Greek tragic dramatist, Euripides. The author presents the view that the fact that Kasprowicz took up the ambitious project of translating all works by Euripides resulted from the Academy of Learning’s commission on the one hand and from the translator’s conscious decision on the other hand. By going back to antiquity, Kasprowicz endeavoured to answer the questions that were fundamental during the War: about its sense and price. Apart from presenting the timeline of Jan Kasprowicz’s translations in detail, the author mentions the key facts from his biography during the War. He also quotes the translator’s statements about the translation techniques and positions them in the context of contemporary theories of translation.

PL

Tekst przedstawia twórczość translatorską Jana Kasprowicza w okresie I wojny światowej. Omawia wpływ, jaki wojna miała na skupienie się na tej formie aktywności literackiej, a także na wybór dzieł najwybitniejszego greckiego tragika Eurypidesa. Autor przedstawił pogląd, że podjęcie się przez Kasprowicza ambitnego projektu przekładu wszystkich dzieł tego twórcy wypływała z jednej strony z zamówienia złożonego przez Akademię Umiejętności, ale z drugiej była świadomą decyzją tłumacza. Poprzez sięgnięcie do antyku Kasprowicz starał się dać odpowiedź na fundamentalne w czasie wojny pytania: o jej sens, a także cenę. Obok szczegółowego przedstawienia kalendarium przekładów Jana Kasprowicza autor artykułu wskazuje najważniejsze fakty z jego biografii w latach wojny. Przytacza również jego wypowiedzi na temat warsztatu translatorskiego, które osadza w kontekście współczesnych teorii przekładu.

19

Dwie lub trzy Kasandry i co o nich wiem. Kilka uwag

51%

Wesołowska E.

Prace Filologiczne. Literaturoznawstwo

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2014

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issue 4(7)

35-46

EN

Cassandra is a peculiar female character in ancient mythology and literature. She appears as early as Homer’s epic, and then incidentally in Aeneid. A would-be lover of Apollo, seer, doomed to disbelief, concubine of Agamemnon, and killed with him on their arrival to Mycenae, she is tragic and it is the tragedy, where she is presented most fully, i.e. in plays by Aeschylus, Euripidesand Seneca. However, her personality traits are so poorly determined that it leaves room for the authors’ actions organising her profile anew. Andso, in Aeschyluss he is a prophetess of her impending death, but she does not try to defend herself. In Seneca, she relates what is covered from spectators’ eyes. She happens to be the symbol of reconciliation, but in Euripides’ Helen she personifies the element of revenge. She is Apollo’s medium, and at the same time she apparently discredits his prophetic power since she was able to cheat him on some occasions. Her attitude towards Agamemnon is vague, because she bemoans his death the same way Helen, whom she hates, mourns Hector’s death. Only the Greek Troades provides an opinion on the beauty of the prophetess. Afterall, Helenand Cassandra’s fatesare mysteriously intertwined. We have the right to suppose that Clytaemestra’s calling Cassandraa female swan is not accidental, although it formally seems to refer to her stage “muteness”.

20

Król tesalski przegląda się w lustrach. Reinterpretacje mitu o Admecie i Alkestis

51%

Janus-Sitarz A.

Edukacja

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2013

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issue 2(122)

90–99

PL

Artykuł prezentuje przegląd dzieł literackich, operowych i malarskich podejmujących temat greckiego mitu o Admecie i Alkestis. Jego celem jest uwrażliwienie czytelnika na różne sposoby odczytania antycznej opowieści zawartej w dramacie Eurypidesa, począwszy od prób łagodzenia kontrowersyjnej historii, przez twórcze dopowiedzenia, aż po reinterpretację mitu w powieści Władysława Odojewskiego Oksana. Autorka rekomenduje Oksanę jako lekturę, która stawia trudne pytania i może sprowokować młodych ludzi do głębszej refleksji.

EN

The article presents the review of literary, opera and painting works undertaking the topic of Greek myth of Admetos and Alcestis. Its aim is to make the reader sensitive to different interpretations of ancient tale in Euripides drama beginning with attempts to soothe controversial story, through creative supplements until the reinterpretation of myth in Władysław Odojewski novel Oksana. The author recommends Oksana for school reading as the book that puts the difficult questions and can provoke young people to deeper reflexion.

Refine search results

Dziecko jako ofiara wojny w tragediach Eurypidesa i Seneki w świetle sceny z Astyanaksem

Wątki tragedii Eurypidesa w twórczości Achilleusa Tatiosa

Problem antycznej ekfrazy teatralnej. Część II: Scenografia

Problem antycznej ekfrazy teatralnej. Część I: Postać

Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część II: Mneme w utworach Eurypidesa

L’Inde dans la mise en scène des chefs-d’oeuvre européens d’Ariane Mnouchkine

Eurypidejska "Andromeda": stan zachowania i próba rekonstrukcji fabuły

Politicising Euripides: A Mouthful of Birds by Caryl Churchill and David Lan

Rituál, válka, oběť a sňatek na českém jevišti: případ Ífigenie v Aulidě

Ein vieldiskutierter Imperativ: Euripides, Elektra 140

The Tradition of the Ionian Colonisation of Asia Minor: Remarks on the Sources

Szalony protagonista Eurypidesowego „Orestesa” w komentarzach scholiastów

Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki (Luctus est istic tuus,/ crimen novercae. Divine and human madness of Heracles according to the dramas by Euripides and Seneca)

Psychotic phenomena in Euripides’ Heracles

Zjawiska psychotyczne w 'Heraklesie' Eurypidesa

Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies

Pajdeutyczny wymiar postaci mitologicznych w literaturze greckiej i komentarzach scholiastów

Poeta tłumacz w czasie wielkiej wojny. Przekłady Jana Kasprowicza w latach 1914–1918

Dwie lub trzy Kasandry i co o nich wiem. Kilka uwag

Król tesalski przegląda się w lustrach. Reinterpretacje mitu o Admecie i Alkestis