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1

On a film by Andrzej Sapija

100%
Tokarska K.
Teksty Drugie (Second Texts)
|
2006
|
issue 4(100)
177-190
EN
This article presents the most important stages and areas of Tadeusz Kantor's output, as shown in 'Powrót Odysa II'. Tadeusza Kantora notatki z prób' (The Return of Odysseus, 2. Tadeusz Kantor's rehearsal notes), a documentary directed by Andrzej Sapija. The motif of a 'return of Odysseus', the principal category in Kantor's art, was employed as the film's structural skeleton. Once a real event, the production staged in 1944, when reduced to a few elements, often recalled as a reference and discussed at a length, had effectively been deformed. The article, in turn, becomes a commentary of a sort, exceeding the limits of the filmmaker's script. The trade mainly concerns the 'Powrót Odysa' production: for the author, the facts established with respect to the premiere version have become the basis for a critical analysis of Kantor's later utterances on the performance, including on a sequence repeated in his 'Nigdy tu juz nie powróce' (I shall never return here). The article follows the film's narrative, attempting at communicating the abundance of motifs touched upon by Sapija and taking into account the filmmaker's interpretation and precise composition of the material, as ensuing from the editing work and documents selected.
2

THE HOMELESSNESS OF ODYSSEUS (Bezdomnosc Odyseusza)

100%
Michera W.
|
2010
|
vol. 64
|
issue 2-3(289-290)
12-18
EN
Ithaca is the arche and telos of Odysseus' journey - the home, conceptualised as a permanent and reliable pole of human existence, contrasted with magical, fictional lands that cannot be localised on a map. The author, however, presents the non-obvious nature of this classical opposition (domi /foris) and reveals the deconstructive potential of Homer's Odyssey. He does so by focusing on two particular elements of the narration: the first is the cyclical nature of Odysseus' returns and resulting non-conclusiveness. The second circumstance is the 'great sign', mega sema (23,188), confirming the identity of the returning Odysseus - 'enrooting' this identity in the original construction of the home. The author demonstrates that this sign is connected directly with events transpiring in the cave of Polypheme, which becomes the reason why the centre of the home sphere and the very identity of Odysseus are branded with an inner 'lack' and receive the status of literary fiction.
3

KYNICKÁ PAIDEIA ALEBO ANTISTHENÉS MEDZI ODYSSEOM A SÓKRATOM

75%
Zelinová Z.
Filozofia (Philosophy)
|
2016
|
vol. 71
|
issue 2
107 – 118
EN
The main purpose of this paper is to reconstruct Antisthenes’ position on education (paideia) and especially to define its character by answering the questions concerning the nature of the relationship that arose on the border of philosophy (Plato) and sophistry (Gorgias). In the first part of our study we offer an explanation of how and whether it is even possible – despite the fact that Antisthenes’ works on education have not been preserved – to identify his philosophy of education without comparing it with competing educational models. Subsequently, we analyse the Socratic and cynic elements (topoi) embodied in the character of Odysseus in Antisthenes’ speech Odysseus or On Odysseus.
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