Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  ghost
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Powrót z zaświatów – ewolucja motywu w twórczości Stanisława Wyspiańskiego

100%
Wedemann M.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2016
|
issue 28
167-181
EN
The article concerns the question of the ghost, which runs through the oeuvre of Stanislaw Wyspianski (1869-1907) from his school translation of G. A. Bürger`s Lenora  until the last, unfinished drama Zygmunt August .
2

Marx’s Concept of Ideology and its Successors

99%
Znepolski B.
Dialogue and Universalism
|
2018
|
issue 3
185-202
EN
The article aims at revealing the historical reinterpretations of one of social sciences’ key concepts, namely that of ideology. Referring to the analyses of Étienne Balibar and Jacques Derrida, it tries, firstly, to clarify the main moments of the Marxian concept of ideology. In Karl Marx’s view ideology is an expression of the social deformations of consciousness in class divided bourgeois society, while in the works of his disciples, among others Louis Althusser, the ideological phenomenon is generalized and con-ceived of as a basic principle of all human practice and as a necessary condition for the social integration of individuals. Moving still further form Marx, Pierre Bourdieu deep-ens Louis Althusser’s line of interpretation and abandons the very concept of ideology substituting for it the concepts of “doxa,” which does not bind human sociality to con-sciousness, but to corporeal dispositions. Unlike ideology, doxa is not just an effect of an already constituted social reality, but rather a principle of its constitution, and, there-fore, a principle of constitution of social domination as well.
3

The Ghost Tradition: Helen Of Troy In The Elizabethan Era

99%
RADUCANU A.
Gender Studies
|
2014
|
vol. 13
|
issue 1
22-36
EN
Reputedly the most beautiful woman who has ever lived, Helen of Troy (or Sparta) is less well known for her elusive, ghost-like dimension. Homer wrote that the greatest war of Western classical antiquity started because of Helen's adultery followed by her elopement to Troy. Other ancient writers and historians, among theme Aeschylus, Stesichorus, Hesiod, Pausanias, Aristophanes, Euripides and Gorgias of Leontini, challenged the Homeric version, in various ways and attempted to exonerate Helen either by focusing on her phantom/ ghost/ as the generic object of man's desire and scorn or by casting doubt on the mechanisms of the blaming process. This paper argues that the Elizabethans Christopher Marlowe and William Shakespeare adopted and adapted the anti-Homer version of the depiction of Helen, what I here call “the ancient Helen ghost tradition”; nevertheless, in so doing they further reinforced the character's demonic features and paradoxically achieved a return to the adulterous Homeric Helen.
4

Visitors from the realm of death

83%
Pypłacz J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2012
|
vol. 22
|
issue 2
61-73
EN
Ghosts play a very important role in Seneca’s tragedies. They either appear on stage and deliver the prologue or influence events from backstage. Sometimes they suddenly come to haunt living relatives as phantoms or hallucinations. Their influence on the actions of the dramatis personae is considerable and, in most cases, negative or even destructive. Thanks to the fact that Seneca chose to unleash his imagination rather than cling to the technical requirements of the ancient theatre, he could permit himself the luxury of filling his plays with supernatural beings who contribute to the atmosphere of metaphysical awe that makes Seneca’s tragedies so unique and that has become their hallmark.
LA
Constat manes mortuorum in tragoediis antiquis saepe apparuisse. Poetis tragicis Graecis necessarii erant ut fabulam formarent spectatoresque exterrerent. Seneca manibus ad eadem aliaque peragenda utitur, nam quasi omnes eius tragoediae phantasmatibus abundant. Manes prologos dicentes, ut Thyestis umbra in Agamemnone Tantalique in Thyeste non solum historiam Tantalidarum in memoriam revocant, sed etiam, ante omnia, nequitiam suam ut pestilentiam in regia propagant. Non manes igitur, sed spectra infernalia apellandi sunt. Alii manes, ut Achillis umbra in Troadibus Laiique in Oedipo, ex Erebo ad terram adeunt, sed auditoribus invisibiles sunt. Crudeles, implacabiles poenaeque avidissimi, vitam dramatis personarum male influunt. Adventus eorum a nuntiis quasi epico modo narrantur. Nonnumquam dramatis personae in Senecae tragoediis visiones repentinas familiarium mortuorum habent, qui aliis personis invisibiles sunt, ut Laius, cuius spectrum horribile Oedipum in Phoenissis aggredit, Apsyrtusve, qui Medeae se ostendit. Haec malae conscientiae deliramenta sunt. Alii autem manes simpliciter familiares suos, quibus desunt, visitant, ut Deiphobi umbra quam Cassandra in Agamemnone vidit. Simili modo Hectoris umbra Andromachae uxori quasi somnium se ostendit in tragoedia quae Troades inscribitur. Ex his omnibus constat Senecam plus ingenium suum quam conditiones theatri antiqui secutum esse quam ob rem tragoedias suas spectris, phantasmatibus et prodigiis sine ullis obstaculis implevisse. Constat etiam manes mortuorum his in tragoediis magno munere fungi, nam eas unicas aliisque antiquis poematibus tam epicis quam dramaticis dissimiliores reddunt.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.