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ZNOVUZROZENÍ TRAGÉDIE V RUSKÉM SYMBOLISMU

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Svatoň V.

World Literature Studies

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2012

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vol. 4 (21)

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issue 1

25 – 42

EN

The inspiration for this essay was the desire to understand the renewed interest in the genre of the ancient tragedy in the Russian symbolism: several poets felt the currency of ancient drama not only as a source of theme, but also of literary (or stage) form. It is interesting that this influence is most evident in the work of the lyric poet Innokentii Annensky. The re-birth of the tragedy emerges from the place of this form in the European spiritual life: the core of the tragedy is the departure point of the European ontology and ethics – the relationship of the unique entity and the whole, in which the entity is submerged. The individual entity is in the European thinking not passively subjected to the super-personal whole, but proclaims its own initiative, while being at the same time involved in relationships whose nature it cannot know. The conflict arises from the fact that the whole, “the destiny”, is not an alien force, but integral part of the entity itself, which is thus unable to grasp it. The understanding of the super-personal force has undergone a development: while earlier it was understood metaphysically as an irreversible moral law, later it was seen as a “world order” and in the epoch of symbolism as a cosmic chaos that the individual must face, no matter what. The role of the chorus, scenes with satyrs and lyrical declamation suggested images of a world full of contradictions, ruled over by cosmic powers. It is significant that only one tragedy by Annensky, “Thamyris Kitharóds”, was stage produced – in Alexander Tairov Theatre.

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Tragedia — między tekstem historii a literaturą

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Czajkowska A.

Prace Literackie

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2010

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vol. 50

155-164

EN

The problem of relations between literature, history and the generic orientation of historical writing is one of the elements of the modern metahistorical awareness. Hayden White represents the concept of linguistic primacy over the “documentary aspect” and “authenticity” of accounts of the past. The confrontation between genology and the need to be part of history is also visible in literature. We can see this, for instance, in the works of Zbigniew Herbert, who is referred to as a classic because of his distinctive ethical and aesthetical declarations. He builds his poetic identity by juxtaposing traditional cultural elements with his historical experience. He uses the axiologically marked categories of tragedy and epic, which played an important role in the description of human condition in historiography at the turn of the 18th century (e.g. J.G. Droysen) and in 19th century testimonies (e.g. M. Mochnacki). Marian Maciejewski points to this in his description of a wide spectrum of pre-Romantic literature in Poland. Deconstructed classical genres are used today, as they were in the early 19th century, to constitute the subjectivity — devoid of solid foundations — of the participant in and the describer of historical events.

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GRÉCKA DRÁMA V HELENISTICKOM OBDOBÍ

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Čiripová D.

Slovenské divadlo (Slovak Theatre)

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2017

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vol. 65

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issue 4

373 – 382

EN

This study deals with a period of the Greece-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformation and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.

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ZNOVUZROZENÍ TRAGÉDIE V RUSKÉM SYMBOLISMU

Tragedia — między tekstem historii a literaturą

GRÉCKA DRÁMA V HELENISTICKOM OBDOBÍ