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Marta Górnicka’s «Grundgesetz»: The Chorus as Portrait and Proxy of Political Community

100%
Décaillet L.
Pamiętnik Teatralny
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2021
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issue 3(278)
123-143
EN
This text analyzes the function of the chorus in Marta Górnicka’s open-air production Grundgesetz (Berlin, 2018) in redefining the political community of “the German people.” While examining its relation to the audience, the author refers to examples of German mass spectacles from the Weimar Republic that invested choruses to both represent a political community in the making and to shape political subjects through collective action. Based on aesthetic and political concepts of representation, which intertwine in the performance, the author shows how the chorus of Grundgesetz both portrays and enacts “the German people” as a plurality of bodies and voices united by fundamental rights. Making it thus an available community to stand for, the performance questions the agency of the audience as a collective body capable of acting together in public space.
2
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For a Via Pulchritudinis Musicalis. Some Notes for a Musical Spirituality

100%
Amherdt F.-X.
The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II
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2024
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vol. 14
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issue 1
19-41
EN
To aim for the unspeakable divine, nothing beats the via pulchritudinis musicalis, the path of beauty advocated by Christian tradition, from Augustine to Luther and the recent popes, which contains parables to make the “unheard of” of the Spirit heard and to reconcile the disagreements between humans. The article deploys twelve metaphors of musical spirituality, as so many different sounds available to seekers of meaning, singers and musicians of the infinite, playing on the numbers: the sound of silence; the three-tone Trinitarian chord; the seven notes of the divine scale; humanity and the believing community as a four-part choir; the five lines of the staff of existence; the righteousness (justice) of the six strings of the guitar; the transcendence of the Christ melody; the stereophony between heaven and earth; the novelty of the final biblical Maranatha; the two hands and ten fingers of the pianist; song and music for the spiritual journey and liturgy; the 144,000 voices of the hymns of Revelation. For nothing reaches the heart of God beyond words like perfect harmony when the final chord is sounded.
3
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„...dum Capitolium scandet cum tacita virgine pontifex”. Funkcja figury pochodu w pieśni III, 30 Exegi monumentum Horacego

87%
Kopek W.
Roczniki Humanistyczne
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2021
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vol. 69
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issue 3
63-93
EN
This article contains a semiotic analysis of the “dancing procession” motif in Carm. III 30 Exegi monumentum (vv. 7–14) in the perspective of the topos of a meeting with a deity in the Horacian lyric, that was defined as a form of a rite of passage. The author also sought to answer the question of the function of the said motif in the composition of the text and in shaping the figure of the author’s subject, shown as a “poet” (vates). The posed research problem required the use of a semiotic definition of the text and forced an approach to the topos of a meeting with a deity as a cultural text. Which, in turn, bear in on reference to anthropology (the concept of ritual) and cultural studies (κῶμος, χορός), as well as linguistics in terms of semantics and the aspect of a verb. After the analysis the author concluded that the “dancing procession” motif in the ode Exegi monumentum is shown in two phases as a cyclical, ritual χορός, which became a sign of the one-time κῶμος. In this sense, the motif was shown as a figure of memory, referring to the fact that Horace combined Aeolian meters with Roman literature. In reply to the question regarding the figure of the subject, the author indicated that on the basis of the above figure of memory the vates was deified and as such he took the place of the deity in the literary transformation of the topos of the meeting with a deity, aspiring to a role analogous to the figure of “Anacreont” in Anacreontic poetry.
PL
Celem artykułu jest semiotyczna analiza motywu „pochodu tanecznego” w Carm. III, 30 Exegi monumentum (w. 7-14) w perspektywie toposu spotkania z bóstwem w liryce Horacjańskiej, rozumianego jako forma rytuału przejścia. Autor poszukuje również odpowiedzi na pytanie, jaką funkcję pełni przywołany motyw w kompozycji tekstu oraz w ukształtowaniu figury podmiotu odautorskiego, ukazanego w roli „poety” (vates). Postawiona problematyka wymagała odniesienia się do semiotycznej definicji tekstu oraz ujęcia toposu spotkania z bóstwem jako tekstu kultury. To z kolei wpłynęło na odniesienie się do badań antropologicznych (pojęcie rytuału) oraz kulturoznawczych (κῶμος, χορός), a także językoznawczych w zakresie semantyki i aspektu czasownika. Po przeprowadzonej analizie autor doszedł do wniosku, że motyw „pochodu tanecznego” w pieśni Exegi monumentum został ukazany dwufazowo jako cykliczny, rytualny χορός, który stał się znakiem jednorazowego κῶμος. W tym sensie motyw ten został ukazany jako figura pamięci, odnosząca się do faktu połączenia przez Horacego miar eolskich z literaturą rzymską. W odpowiedzi na pytanie o konstrukcję podmiotu autor wskazał, że na bazie powyższej figury pamięci nastąpiło ubóstwienie wieszcza, który w przeformułowanym toposie spotkania z bóstwem zajmuje miejsce samego bóstwa, aspirując do roli analogicznej do figury „Anakreonta” w poezji anakreontejskiej (Carm. Anacr. 1 W, 1-3, 11-17).
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Античность сквозь призму современности: „Медея” в Театре на Таганке и в московском ТЮЗе

84%
Шелогурова Г. Н.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
105-114
EN
Comparing the two interpretations of Medeas’s myth the author of the article is primarily interested in the problem of the perspectives of genre (tragedy as it was defined by Aristotle) in modern theatre. In this connection the most important aspect of the analysis is the esthetic, philosophical and social bases of tragedy. That is why Lubimov’s stage variant of the ancient myth seems to be the presentation of the specific moment – the maximal rapprochement between classical tragedy and Russian life of the 1990s. Medea staged 14 years later by Ginkas fixed the situation when such a contact was appreciated as impossible.
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