Search results

1

Chrześcijańska Antygona, czyli interpretacja tragedii Sofoklesa dokonana przez Juliusza Osterwę pod wpływem wybuchu II wojny światowej

100%

Bibik B.

Między Oryginałem a Przekładem

|

2015

|

vol. 29

109-119

EN

Sophocles’ Antigone is one of the most famous ancient tragedy in Polish culture and it is also most often translated one into Polish. In 1939/1940 Juliusz Osterwa, famous actor, director and leader of the Reduta theatre, translated Sophocles’ Antigone into Polish. The outbreak of the II World War, that moved Osterwa very deeply, and his ideas of the Christian roots of European culture as well as the ideas of the crisis of spirituality in modern culture, that crystallized at that time, caused that he filled his translation of Greek tragedy, on its every possible level, with as many elements connected with Christian religion as possible. It makes Osterwa’s Antigone one of the units in the long translation chain, in which Greek Antigone becomes Polish Antigone. But most of all it makes Osterwa’s Antigone very significant and characteristic witness of its own time.

2

Termín a koncept sófrosyné u Aischyla a Sofokla

100%

Daneš J.

Filosofický časopis (Philosophical Journal)

|

2017

|

vol. 65

|

issue 5

673-689

EN

In this article, I examine the instances of the term and concept of σωφροσύνη (sophrosyne) in Greek tragedy, taking in the extant plays of Aeschylus and Sophocles. I correct, or expand, conclusions arrived at by the authors de Vries, Kollman and North. I further focus in detail on the tragedies, or on passages in them, and on the themes connected with them which these authors have given less attention to. One of these is the manipulation of ethical discourse. Aeschylus, as well as Sophocles, in their extant plays, stress the manipulation of ethical discourse in relation to power and conformism. In this they differ from Euripides – whom I will discuss in a separate text – who concentrates more on the egoism of the rational agent in “private” life.

3

Tyrannoi and Tyrants on the tragic stage

100%

Kucharski J.

Classica Cracoviensia

|

2012

|

issue 15: Leadership in Antiquity: Langauge - Institutions - Representations

167-189

EN

The paper analyses the terms tyrannos and basileus in both Greek politics and Greek drama, taking under special scrutiny various connotations and associations of the terms tyrannos and tyrannis in the language of Attic tragedy.

4

Electra's three performances by Antoine Vitez

100%

Barillé B.

Collectanea Philologica

|

2012

|

vol. 15

FR

Cet article se propose d’étudier la relation particulière qu’Antoine Vitez entretient avec l’Électre de Sophocle. À trois reprises, en 1966, en 1971 et en 1986, il traduisit et mit en scène cette pièce différemment. Vitez distingue dans l’œuvre de Sophocle deux niveaux de lecture, celle du fait divers, la pauvre fille, pleurant sur son père assassiné et appelant son frère à la vengeance contre leur mère et son amant, et sa valeur allégorique, l’insoumission face à l’usurpation, la résistance à la tyrannie. Ces trois mises en scène sont intrinsèquement liées. Elles matérialisent la tension qui définit pour Vitez l’art théâtral, cette polarité du mythe, entre l’universel et le particulier, porteur à la fois du passé, du présent et de l’avenir. Le théâtre est le lieu de la contradiction. À travers cette tension permanente, Vitez met en scène sa propre réflexion critique.

5

Pokorného hledánÌ Oidipa vladaře

88%

Stehlíková E.

Listy filologické (Folia philologica)

|

2015

|

vol. 138

|

issue 3-4

341-356

EN

The translation work of Jaroslav Pokorný is rich and varied – he translated prose, poetry as well as drama. Among modern languages he focused mainly on Italian; however he did not hesitate to translate from French and German either. Translations from Greek and Latin form an important chapter in this corpus. He was the first to bring practical theatrical experience into translation of ancient drama, which was unavailable to philologists including those who had some kind of contact with theatre, such as Ferdinand Stiebitz. From the beginning his concept of translation moved from philological translation meant primarily for reading to creating translation meant for rendition on stage, i.e. dramatic translation, which is, according to Pavel Drábek, a “special kind of translation. As opposed to literary translation it shows an anticipated presence of stage action, of which the utterances captured in the translation are only one component. In dramatic translation other forces are reflected too. First and foremost, it is the translatoris theatrical taste and style, that is, a certain dramaturgy, which s/he considers adequate and optimal for translation of a particular dramatic text.” (Pavel Drábek: České pokusy o Shakespeara [Czech Attempts at Shakespeare], Brno, Větrné mlýny 2012, pp. 41–42). All Pokorný’s translations of ancient playwrights are characterized (while not neglecting their literary aspects) by his attempts at stage effectiveness. However, his translations of Sophoclesi Oedipus and Plautus’ comedy Mostellaria in the first place brought something crucially new. The study focuses on the translation, or rather, three versions of the translation of Oedipus the King, the first of which came to life around 1942, the second one most probably shortly after the Second World War. The third was published for the first time in 1953 and first staged at the theatre in Liberec in 1962. It was only Miroslav Macháček’s production at the National Theatre in Prague in 1963 that made this translation famous. Foreword to these texts was influenced by a Marxist concept of tragedy, as the Czech public knew it from G. Thomson’s publication Aeschylus and Athens (published in Czech translation in 1952). Jaroslav Pokorný, well versed in the Czech translation theory, as represented in his time by the founders of the Prague Linguistic Circle Vilém Mathésius and Roman Jakobson, was the first to successfully apply functional aspect on translation of ancient literature as early as the 1940s. Thanks to this and to his dynamic concept of components of theatrical expression he created a translation in his early translation career (he was only little over twenty years old when working on Oedipus), which even 70 years later remains an example of a free but at the same time a serious approach to texts of ancient Greek drama.

6

Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część I: Mneme w utworach Ajschylosa i Sofoklesa

88%

Narecki K.

Collectanea Philologica

|

2018

|

issue 21

5-23

EN

The aim of the study, which is a continuation of this type of research (based on Greek literary sources of the Presocratic era), is to determine the meanings of the concept of mneme – “memory” in the works of Aeschylus and Sophocles, as well as to determine the function it plays in a given place. Linguistic and literary analysis of 12 instances of a noun mneme in Aeschylus (3) and Sophocles (9) shows that this concept reveals hitherto unknown semantic shades. Aeschylus gives mneme a new meaning of “worship” (in Suppliants). He also uses the already known: intellectual “power of memory” and for the first time in the history of Greek literature identifies “memory” with the mother of all muses – Mnemosyne (in Prometheus Bound). More often mneme appears in the works of Sophocles, which results from the functions performed there. After all, the intellectual “power of memory” and “memories” as the effects of its actions allow the characters to: (1) do well (and thus keep the moral order), (2) get to know the truth about ourselves (to recognize our own identity) changing the course of dramatic action as part of the peripeteia (the case of Oedipus), (3) lead (as the driving force) to destruction of heroes (Jocasta, Oedipus), (4) drive the action (as “thought”), (5) serve as a moral compass (in a new semantic shade “attention”, in Oedipus at Colonuss), (6) store a resource (memories) as a deposit in collective memory as a warning for posterity. And finally, for the first time in history, the concept of mneme as a tool of mimesis is used in Oedipus Rex in the new sense: “the ability to (re)create” (inspired by Mnemosyne) or otherwise: “poetic art of reconstruction” of dramatic events. Defined meanings (semantic shades) of mneme can be divided into 2 groups. The first group includes those that take rational value: “power / ability to remember”, “thought”, “attention”), while the other holds the expressive meanings: “worship, honour, commemoration”, “(re)creative, poetic reconstruction”. It seems that the Greek tragedians were aware of the role that mneme can play in their works: whether in the depiction of the characters, or as an element that drives the action, or in recalling, in various ways, the past and its cultivation.

7

Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)

76%

Skwara E.

Symbolae Philologorum Posnaniensium Graecae et Latinae

|

2017

|

vol. 27

|

issue 3

EN

This article is a voice in the discussion on the methods of stage implementation of Greek tragedy. The discussed staging of “Oedipus Rex” opera by Stravinsky (Tokyo ‚94) is dominated by non-verbal means of expression (music, set design, costume, stage movement), thus setting a supporting role for the libretto. Nevertheless, the performance arouses similar feelings and emotions as Sophocles’ drama.

8

Oidipus redivivus. Teatro Olimpico 1585

75%

Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2017

|

vol. 20

|

issue 2

59-68

EN

The first modern production of classical Greek tragedy was put on in Vicenza in 1585 in a then newly opened theatre, today known as Teatro Olimpico. The author of the building plan was Andrea Palladio, renowned architect who died before the construction of the theatre was finished. It was completed by Vicenzo Scamozzi, another famous Italian architect, who enhanced the stage by an illusionary decorative background. The completed theatre building, the architectonic plan of which was inspired by Vitruvius’ Ten Books on Architecture, is a combination of classical Roman and Renaissance architectonic principles, representing an ideal image of Antiquity created by Palladio and Scamozzi’s fellows – a contemporary utopia projected into the past. The play chosen for the opening of the house, Sophocles’ Oedipus the King, underlined the prestige of the institution, as well as of the whole city and its Academia. What can be learnt about the production from various contemporary resources is a subject of the present paper.

CS

První zaznamenaná inscenace řecké tragédie v nové době se konala ve Vicenze v r. 1585, a to v nově otevřeném divadle (dnes známém jako Teatro Olimpico). Autorem stavby byl známý architekt Andrea Palladio, po jehož smrti ji dokončil Vicenzo Scamozzi, který Palladiův návrh obohatil o iluzivní dekoraci. Divadlo inspirované Vitruviovým spisem Deset knih o architektuře je jistou kombinací římských a renesančních architektonických principů, z nichž je utkán ideální obraz návratu k antice, této utopie promítnuté do minulosti. Titul zvolený ke slavnostnímu otevření divadla byl vybrán tak, aby podpořil prestiž divadla i Vicenzy a její Accademie.

9

Antygona jako homo sacer. Przedpolityczna przemoc w świecie bez praxis

75%

Wojciechowska A.

Facta Ficta. Journal of Theory, Narrative & Media

|

2019

|

vol. 3

|

issue 1

17-28

EN

This paper is a proposition of a new intepretation of Sophokles’ ‘Antigone’. Author uses a specific term homo sacer to analyze the reality of ancien polis described in the tragedy. Both Giorgio Agamben and Judith Butler made use of the concept of homo sacer to read ‘Antigone’ but they gave it a modern approach. Agamben treats the homo sacer as a person who is deprived of the laws and who, as a result, is banished from a community. He sees the homo sacer in modern refugees. The author of this chapter acknowledges Butler’s and Agamben’s approach but also reaches to the originis of the term. The idea of a sacred man derrives from pre-Roman law, which is described as a pre-politic law of violence. The author analyzes the situation of Antigone who becomes the homo sacer after being cursed by Creon. Antigone takes an action (praxis) while public speaking and therefore she steals the law which was originally available to polis citizens – men. She then becomes a woman-citizen, somone who has no place in polis. Antigone’s status is to be ‘in-between’, she is no woman, nor man. There is no place for her in polis. That is why she must be cursed and called the homo sacer. The new identity is given to her by the law. The aim of the chapter is to prove that the Antigone’s fate of being the homo sacer shows the moment of degeneration of the Greek polis. It shows what happens if the pre-politic violence becomes a part of the community.

10

Authenticity, Self-Invention and the Power of Storytelling: Sam Shepard’s Postmillennial Work

63%

Mirowska P.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

|

2020

|

vol. 6

|

issue 1

28-39

EN

The article reflects upon Sam Shepard’s playwrighting in the opening decades of the twenty-first century, paying particular attention to his last play, A Particle of Dread (Oedipus Variations), written specifically for the Derry/Londonderry City of Culture celebrations in 2013, and originally produced by the renowned Field Day Theatre Company. The article seeks to offer an insight into Shepard’s mature multilayered text, which, in many respects, looks back upon almost fifty years of his artistic creativity and, at the same time, expands his vision. It also addresses the realisation of Shepard’s play in performance and the significance of his text in an interplay of multiple creative inputs involved in the production process. While revisiting the familiar landscapes and themes, Shepard’s most recent work negotiates the boundaries between the actual and the fictitious, raising debates about the persistence of myths, mortality and the haunting legacies of the past. Richly intertextual and conspicuously metatheatrical, it grapples with questions of authenticity, performativity and storytelling – the narratives that are passed down, and how they form and inform our lives. It also engages with, and further problematises, issues of personal and cultural identity, which constitute Shepard’s most durable thematic threads, revealing both the dramatist’s acute concern with fateful determinism and commitment to self-invention. Significantly, while Shepard’s postmillennial output highlights the author’s ongoing preoccupation with instability and frontiers of various sorts (from those topographic, temporal and sociopolitical to those of language and art), it equally intimates his attentiveness to correspondences between times, lands and cultures.

11

Lekcja choroby dla zdrowych

51%

Koziołek K.

Świat i Słowo

|

2015

|

vol. Świat i Słowo 2015, nr 1 (24)

23-30

EN

The article discusses the situation of the sick, who is excluded from the community of the healthy people. The author describes the way, in which the literature helps to abolish the border between the sick and the healthy. Philoctetes by Sophocles is the subject of the analysis. The study of the main character allows the reader to understand the situation of the sick person, as well as the mechanisms of the exclusion and the inability to forgive.

12

Der Begriff πύλη in Mt 16,18 und die Tragödie Antigone von Sophokles

51%

Dzikiewicz D.

Łódzkie Studia Teologiczne

|

2021

|

vol. 30

|

issue 1

37-48

PL

Niniejszy artykuł stanowi kontynuację studium podjętego w 2017 r. na łamach drugiego numeru czasopisma Colloquia Theologica Ottoniana (s. 57–67). Zaproponowana wówczas argumentacja, uzasadniająca odczytanie słowa πύλαι w Mt 16,18 jako „gardziele”, jest tu wzbogacona o kolejne dwie racje przemawiające za takim właśnie zrozumieniem analizowanego greckiego rzeczownika. Przytaczane dowody pochodzą z Antygony Sofoklesa i niejako utwierdzają w słuszności proponowanej interpretacji.

EN

This article follows a study undertaken 2017 in the journal Colloquia Theologica Ottoniana (pp. 57–67). The argumentation proposed at that time justifying the reading of the term πύλαι in Mt 16,18 as “throats” is here enriched with two other reasons for just such understanding of the analyzed Greek noun. The recited evidence comes from Sophocles’ Antigone and in some measure confirms the correctness of the proposed interpretation.

Refine search results

Chrześcijańska Antygona, czyli interpretacja tragedii Sofoklesa dokonana przez Juliusza Osterwę pod wpływem wybuchu II wojny światowej

Termín a koncept sófrosyné u Aischyla a Sofokla

Tyrannoi and Tyrants on the tragic stage

Electra's three performances by Antoine Vitez

Pokorného hledánÌ Oidipa vladaře

Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część I: Mneme w utworach Ajschylosa i Sofoklesa

Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)

Oidipus redivivus. Teatro Olimpico 1585

Antygona jako homo sacer. Przedpolityczna przemoc w świecie bez praxis

Authenticity, Self-Invention and the Power of Storytelling: Sam Shepard’s Postmillennial Work

Lekcja choroby dla zdrowych

Der Begriff πύλη in Mt 16,18 und die Tragödie Antigone von Sophokles