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Reden und Schweigen über Gefühle in Grillparzers "Sappho"

100%
Scheichl S. P.
Studia Germanica Gedanensia
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2021
|
vol. 44
162-175
EN
In Grillparzer’s tragedy Sappho emotions of love are important but the author uses syntax and metre rather than the vocabulary to express the dominating emotions of love (between Phaon and Sappho and between Phaon and Melitta) and of jealousy. Gestures and objects are also very important signs for the characters’ feelings. The different use of „lieben“ by Sappho and by Phaon foreshadows the tragic end at the very beginning.
DE
In Grillparzers Trauerspiel Sappho geht es um die Liebesbeziehungen zwischen Sappho und Phaon sowie Phaon und Melitta. Der Autor nützt jedoch relativ wenig den einschlägigen Wortschatz, sondern drückt die intensiven Emotionen mehr durch Syntax und Metrum sowie durch Gesten und Gegenstände aus. Bereits am Anfang verwenden Sappho und Phaon das Wort „lieben“ unterschiedlich, was auf das tragische Ende vorausdeutet.
2
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Elegijne nastroje: wczesna elegia grecka i nie tylko

86%
Bartol K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2011
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issue 18
11-22
EN
This article explores the relationships and correlations between early Greek elegy (7th-5th c. BC) and the elegiac mood of a poem understood today as a nostalgic and melancholic attitude of the subject evoked in a poem. The known surviving ancient texts prove the thematic heterogeneity of the elegiac genre at its early stage of development, while this elegiac emotionality is by no means a distinctive feature of this particular poetical category within the archaic parental context even though it does occur in some works composed in distichs that are traditionally labeled as elegiac (e.g. works of Archilochus and Mimnermus). Elegiac attitude, within modern understanding of the term, is also to be fund in the melic poetry of early Greek poets (such as Sappho, Anacreon and Simonides of Ceos) which were, in fact, considered by ancient theoreticians as non elegiac as far as their genre was concerned. The attribution of the elegiac character, not linked genetically with any of genres, to one poetical category is thus a result of multilayered processes of cultural interaction and the reception of the early Greek literature rather than the substance of the genre.
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OBRAZ SAFONY W DYSKURSIE MODERNISTYCZNYM

71%
Тurhan О.
Studia Ukrainica Posnaniensia
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2021
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vol. 9
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issue 1
177-186
EN
The article deals with the modernist reception of the literary image of the ancient poet Sappho in the works of Ukrainian writers from the end of the 19th century and beginning of the 20th – Lesya Ukrainka, M. Chernyavsky, L. Starytska-Chernyakhivska. In the main, the origins of the use of this image in the literature of different cultural epochs are clarified, and the specific nature of its interpretation in the works of different genres of these Ukrainian artists is analyzed. What is emphasized here is the originality in how Sappho’s image is interpretated and mythologized in the poems by Lesya Ukrainka and M. Chernyavsky, in L. Starytska-Chernyakhivska’s drama and in Lesya Ukrainka’s unfinished drama under the same title. The author also shows how the traditional image in these works combines both the general cultural paradigm and elements of modernist reception, and how in Ukraine this was a synthesis of Western European art canons and national specificities, of the “philosophy of life” and the “philosophy of the heart”, and of Apollonian and Dionysian elements. The author also confirms how in the works of Ukrainian writers from this period, the decisive factor in interpreting Sappho’s image is the focus on the artistic work of this ancient poet and the myth of love between Sappho and Phaon. Attention is drawn to the fact that in Lesya Ukrainka, M. Chernyavsky and L. Starytska-Chernyakhivska’s creative rethinking of this image, there is a tendency towards neomythologism, typical for modernist discourse in all kinds of art and in literature, in particular.
PL
W artykule zbadano modernistyczną recepcję literackiego obrazu starożytnej poetki Safony w twórczości ukraińskich pisarzy przełomu XIX i XX wieku – Łesi Ukrainki, Mykoły Czerniawskiego, Ludmyły Staryckiej-Czerniachiwskiej. W głównej mierze wyjaśniono genezę odwoływania się do wskazanego obrazu w literaturze różnych epok, przeanalizowano specyfikę jego interpretacji w utworach różnych gatunków wymienionych wyżej ukraińskich pisarzy. Podkreślono także oryginalność interpretacji i mitologizacji Safony w wierszach Łesi Ukrainki i M. Czerniawskiego, w dramacie L. Staryckiej-Czerniachiwskiej oraz w niedokończonym dramacie Łesi Ukrainki pod tym samym tytułem. Ujawniono, w jaki sposób w analizowanych pracach tradycyjny obraz kumuluje zarówno ogólny paradygmat kulturowy, jak i jego transformację w epoce modernizmu, która to na ukraińskim gruncie syntetyzowała zachodnioeuropejskie kanony sztuki ze specyfiką narodową, „filozofię życia” z „filozofią serca”, nurt apolliński z nurtem dionizyjskim. Potwierdzono, iż w twórczości ukraińskich pisarzy wskazanego okresu decydującym czynnikiem w interpretacji obrazu Safony jest skoncentrowanie się na kwestii twórczości starożytnej poetki i micie o miłości Safony i Theonasa.Szczególną uwagę zwrócono na fakt, iż tendencją dominującą w twórczym podejściu Łesi Ukrainki, M. Czerniawskiego, L. Staryckiej-Czerniachiwskiej do kreowania obrazu starożytnej poetki jestneomitologizacja, charakterystyczna dla dyskursu modernistycznego we wszystkich rodzajach sztuki, a zwłaszcza w literaturze.
4
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“Darkling I Listen”: Melancholia, Self and Creativity in Romantic Nightingale Poems

71%
Łuczyńska-Hołdys M.
Anglica. An International Journal of English Studies
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2014
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issue 23/1
105-114
EN
The present article is an attempt to look at selected Romantic poems which concentrate on the image of the nightingale. Starting from Charlotte Smith’s sonnets and continuing with poems by other writers of the period, I will try to trace the link between nature and poetic convention in English Romanticism. While some of the nightingales which sing in Romantic poetry seem deeply symbolic, other forsake poetic tradition and stubbornly persist in their birdy nature, resisting descriptions in terms of melancholia or woe. Nevertheless, the fate of Philomela, whose sad story of violation identifies the nightingale with loss, suffering and poetic creation, still remains an important context for Romantic nightingale poems.
5
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Sappho – Catullus – Kochanowski: rendering texts, rendering cultures

57%
Domański J.
Meander
|
2022
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