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

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  reception of Antiquity
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
EN
The article discusses the issue of ritual in the productions of Greek tragedy, dealing with the case of ritual as an important organizing principle of the text itself. Productions of Iphigenia at Aulis on Czech stages is chosen as a case study, since the play was staged very often and in diverse contexts from the beginning of the 80ies. Several kinds of rites of passage appear in the Iphigenia at Aulis: marriage, achieving maturity through war, death and burial. They are all tainted and degraded in the play. Most of the characters subvert their purpose – with the exception of Iphigenia, who seeks to confirm the meaning of her life through her death. Czech productions do not use ritual as a means of inducing unity between performers and spectators that would take part at the event as it is in Richard Schechner’s Dionysus in 69, or in Grotowski’s experiments and work. Despite that, many references to ritual appear in the productions: the study analyzes the use of the stage space and props, shaping of relations among the characters, their actions and acting in relation to how they express the meaning and value of ritual in each production.
EN
Kazantzakis’ Odyssey – apart from the abundance of philosophical as well as ideological influences of many different sources which the writer tried to unify into a universal cosmotheory – constitutes a large-scale attempt by a Modern Greek writer to respond to Homeric epic. Yet, the author of Zorba the Greek sketched another epic composition that, according to his vision, aimed at reaching further than his magnum opus. His ambition was to encompass the long-lasting period between Ancient and Modern Greece, namely that of the Byzantine empire and its radiating influence on Greek consciousness and identity. He entitled his project Akritas, thus directly alluding to the only epic poem in Byzantine Greek literature, Digenes Akritas, and its protagonist as well as to acritic songs from Cyprus, where the latter’s name appears. In the present paper I would like to shed some light on Kazantzakis’ approach to Byzantium and its significance in defining the Greek identity through this unfinished sketch that the writer in fact never began.
PL
Celem artykułu jest analiza i interpretacja autorskiej wersji Iliady Homera napisanej w 2004 roku przez współczesnego włoskiego pisarza Alessandro Baricco. Oparł się on na tłumaczeniu Iliady autorstwa Marii Grazii Ciani. Reinterpretacja starożytnego poematu Homerowego stanowi, jak się wydaje, interesujący przykład próby uwspółcześnienia starożytnego dzieła literackiego. W artykule autorka analizuje oraz interpretuje treść i konstrukcję współczesnej wersji poematu, porównując ją z jej pierwowzorem oraz tłumaczeniem na język włoski Iliady, na którym bazował Baricco.
EN
The aim of the article is to analyze and interpret the new version of the Iliad written in 2004 by the contemporary Italian writer Alessandro Baricco. He based his version of the text on the Italian translation of Iliad by Maria Grazia Ciani. The reinterpretation and reconstruction of the ancient poem of Homer by Alessandro Baricco seems to be an interesting example of an attempt to modernize an ancient literary work. In the article, the author analyzes and interprets the content and the structure of the contemporary version of the poem, comparing it to the original text of the Iliad and its Italian translation on which Baricco was basing.
PL
In my paper I focus on the well-known Greek mythical as well as literary figure, known mainly from Homer’s Odyssey, Odysseus’ faithful wife, Penelope. Attention is given to the interpretation of the Homeric prototype in Modern Greek 20th century poetry. The successive metamorphoses of the image of Penelope are traced in Nikos Kazantzakis’ The Odyssey, Yiannis Ritsos’ Penelope’s Despair, Katerina Anghelaki-Rooke’s Says Penelope, Kyriakos Charalambides’ Penelope Recognizes Odysseus, Penelope’s Odysseusand Pandelis Boukalas’ Penelope. The analysis shows ambiguous attitude to the traditional image of Penelope and tendency of Modern Greek poets to demythologize her and to show the scene of anagnorisis in Homer‘s Odyssey in modern context as well as with more psychological probability.
EN
In my paper I focus on the well-known John Cuthbert Lawson’s study about Modern Greek folklore (1910) and I venture to verify if it may be regarded as a reliable source of information about Greek folk beliefs. I base my argument on the eschatological remarks Lawson made concerning the personification of Death – Charos and his relationship to the Christian Angels. Confronting Lawson’s views and his source material with other similar demotic songs, mainly from the collections he had had access to, I try to show in what way the older collections of folk-songs might have distorted or falsified the eschatological images of Charos and the Angels, and what he overlooked while analyzing the sources. I also shed some light on possible influences of Byzantine orthodoxy on Modern Greek folk tradition to which Greek demotic songs belong.
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.