Search results

1

Heglowska koncepcja tragedii

100%

Przybysławski A.

Estetyka i Krytyka

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2014

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issue 4(35)

157-169

XX

The text presents Hegelian concept of tragedy as an integral part of philosophical system of German philosopher. Only in the context of history of Spirit one can understand the role and the meaning of tragedy which represents certain phase in dialectical history of consciousness.

2

El laberinto de Fernando Arrabal como obra trágica

100%

Ghalab A. H.

Estudios Hispánicos

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2013

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vol. 21

61 - 73

EN

The study focuses on the similarities between The Labyrinth, by Fernando Arrabal, and tragic plays. We begin with the description of the tragic classicist concept and then move on to the Renaissance humanists and commentators on the classics. Analyzing the work we have found that in The Labyrinth there are many features that turned the play into a tragedy of a modern character. It is observed that the author raises important issues to highlight the complexity of a dramatic conflict that exists in the work between the protagonist and other dramatic forces. Finally, we note that Arrabal exposes the reality as an a powerful and totalitarian system, which seems like a stifling atmosphere, unexplained and uncontrolled repression. In addition, the biographical element characterizes a concept of the human being which includes conscious and unconscious aspects, obsessions and dreams.

3

Tragic Innocence in Philip Roth’s American Pastoral

100%

Glăvan G.

Romanian Journal of English Studies

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2012

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vol. 9

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issue 1

240-253

EN

American Pastoral is not only an elegiac fictional biography, but an in-depth analysis of the demise of the American dream in the context of post-war social and cultural mutations. The loss of innocence echoes the tragic mythical Fall from Paradise and the novel’s main characters, Seymour “Swede” Levov and his daughter, Merry, mirror this process in a complex and meaningful way.

4

Fate in Thunderstorm by Cao Yu and Hippolytus by Euripides

100%

Zhang J.

Studia Azjatystyczne

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2016

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issue 2

137-151

EN

Theatre, as opposed to traditional Chinese drama, was introduced to China through the first Opium War, and the establishment of Chunliushe in Japan is regarded as the birth of the real Chinese play in 1907. Hereafter, many plays were written and performed in China and were accepted as new form plays. Thunderstorm (Leiyu), Cao Yu’s first play, was published in 1934, and became the first masterpiece of modern Chinese theatre, symbolizing its becoming mature. As the playwright admitted, it was influenced by classical Greek Plays, as well as by Henrik Ibsen. This paper reflects upon the theme of fate in Thunderstorm by Cao Yu and Hippolytus by Euripides. Although Cao Yu interpreted that he was influenced by western plays consciously or unconsciously, Thunderstorm has its own Chinese roots. Similarities and differences in the themes of fate are compared by time or history; ethnic or family aspects; and the individual or feminine. The indescribable fate of the protagonists leads to the agony they suffer inside and also effects them outside because of typical social beliefs and family life; meanwhile, it helped to bring fame to the two tragedies.

5

Специфика колымского юмора

100%

Gorbačevskij Č.

Acta Polono-Ruthenica

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2013

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vol. Tom 1 Nr XVIII

35-45

EN

The article is devoted to the problem of „Kolyma humour”. This term is consider by formers Kolyma political prisoners such as Varlam Shalamov, Daniil Alin, Georgiy Demidov, ZalmanRoomer, Wernon Kress, Juriy Dombrowskiy etc. „Kolyma humour” as definition sounded quite absurdly with reference to slavish condition of existence huge quantity deprived elementary civil rights people. Through „Kolyma humour” everyone can see the extremely cruel attitude so called „friends of people” to „enemies of people”. As a result: only human with fatal deformed consciousness has ability for understanding such kind of non-human humour, called „Kolyma humour”.

6

Δυσφημία. Greek Speech Transgression

88%

Sandin P.

Eirene. Studia Graeca et Latina

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2018

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vol. 54

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issue 1-2

97-127

EN

Recorded instances of δυσφημία and βλασφημία, Greek speech transgression with detrimental spiritual impact, are subjected to an analysis by categories. Six concrete types are identified: (1) perceived dogmatic error (rare outside philosophical literature); (2) talk of death; (3) mention of undesirable entities; (4) mention of undesirable outcomes; (5) mention of undesirable human actions, attitudes and traits; (6) generally unpleasant speech, for instance lament, complaint and bad news. These categories partly overlap and may be sorted into three genera: (a) = category 1, false dogmatic assertion; (b) ill omen, that is, the invocation of anything that is undesirable; (c) negative speech that is hateful to the gods on aesthetic grounds, for instance lament and mention of death. The first two genera reflect relatively universal religious attitudes, but with regard to its importance and scope, the last one appears to be culturally specific. It is related to the concept of miasma, spiritual pollution.

7

Bogusława Wolniewicza rozumienie fenomenu śmierci

88%

Smakulska J.

Kultura i Wartości

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2012

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issue 4

19-32

EN

The phenomenon of death is one of the most essential issues in Bogusław Wolniewicz’s philosophical deliberations. The philosopher discusses it within a context related to religion, euthanasia and capital punishment. The issue of religion is crucial because, according to Wolniewicz, religiosity is inseparably linked with the phenomenon of death, as death is the source of every religion. Death is something sacred which evokes both respect and trepidation. Death is a mystery; it indicates the existence of a dark side of reality. Religiosity emerges from the realization that we are subjected to the unchan geable laws of nature. We are both rational and mortal, a combination that is the essence of human nature. In addition to this, rationality and mortality linked together make our position in the world tragic. However, the human being does not want to die, does not want to come to terms with his own mortality. We possess a strong desire to influence our fate or at least delay our end. That is why progress which is taking place in the medical sciences gives us a deceptive hope that we will be able to live for ever, and that human death will be soon overcome. According to Wolniewicz, scientific progress is changing human awareness of our own tragic fate. As a result, we are becoming less and less sensitive to our tragic position in the world.

PL

W rozważaniach filozoficznych i bioetycznych Bogusława Wolniewicza jednym z najistotniejszych problemów jest fenomen śmierci rozpatrywany w kontekście tematyki związanej z religią, eutanazją i karą śmierci. Kwestia religii jest tu kluczowa, bowiem, zdaniem filozofa, jej źródłem jest właśnie fenomen śmierci. Śmierć to sacrum, zjawisko budzące szacunek i trwogę, a zetknięcie ze śmiercią to zetknięcie z ciemną i tajemniczą stroną rzeczywistości. Śmierć wskazuje na naszą podległość wobec nieubłaganych praw przyrody. Filozof uważa, że połączenie rozumności i śmiertelności stanowiące o istocie ludzkiej natury, czyninaszą pozycję w świecie tragiczną. Jesteśmy bowiem świadomi, że śmierć jest nieunikniona. Jednak człowiek nie chce umierać, nie chce pogodzić się ze swoją śmiertelnością, pragnie wpłynąć na swój los, aby przynajmniej o późnić nadejście śmierci. Rozwój nauk medycznych sprawił, że ludzie zaczęli ulegać złudzeniom na temat rychłej możliwości bezkresnego przedłużania życia. Zdaniem filozofa, są to nierealne mrzonki, a ów postęp naukowy powoduje zmianę w naszym odczuwaniu świ ata, a mianowicie staje się ono corazmniej wrażliwe na tragizm ludzkiego bytowania. Celem artykułu jest prezentacja głównej tezy Bogusława Wolniewicza o nierozerwalnym połączeniu religijności i zjawiska śmierci.

8

Plato’s Dialogues as a Foundation for Universal Dialogue

88%

Beck M. C.

Dialogue and Universalism

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2022

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issue 3

293-313

EN

In the Phaedrus and Seventh Letter, Plato says the spoken word is much more important than the written word. Plato’s dialogues have been discussed for 2400 years. The Founders of the International Society for Universal Dialogue describe philosophy as a universal dialogue. Particularly in this era of a decline in democratic societies, discussing Plato’s dialogues can educate us about how to preserve, and how to lose, free and open societies. Plato was born at the end of the “Golden Age” of Athens. By the time he was 30, Athens had destroyed itself. Abuses in the economic system, the military, the medical community, the legal profession, the political community, the arts and in education led to social instability and the election of a dictator, in the name of a return to “traditional” values. Plato wants us to discuss analogies with our own societies.

9

Ein vieldiskutierter Imperativ: Euripides, Elektra 140

88%

Seidensticker B.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 1

227-234

EN

The article argues that in line 140 Electra does not address an anonymous servant but herself.

10

The Progress of Evil and the Return of Justice in Shakespeare’s Richard III

88%

Guyette F.

Anglica. An International Journal of English Studies

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2015

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issue 24/1

83-96

EN

Shakespeare’s Richard III is a warning about the danger of tyrannical political leaders. Richard has no legitimate claim to the throne, but he devises his own way to achieve that goal. All along the path he follows, he leaves a trail of dead bodies. Richard becomes a fratricidal, child-murdering, Machiavellian usurper, who takes delight in breaking nearly every one of God’s commandments. This essay traces the progress of evil in Richard III under the following rubrics: (1) Ambition and The Tactics of Deception, (2) The Erosion of Conscience, (3) The Deeds of a Tyrant, (4) The Return of Justice, and (5) Implications for an Education in Political Theory.

11

The Violent Origins of Law

88%

Cavallo R.

Filozoficzne Aspekty Genezy

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2019-2020

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issue 16-17

121-133

EN

The aim of this article is to analyse an issue discussed by philosophers and legal scholars since ancient times: the violent origins of law. In other words, it attempts to respond to the following questions: can we ultimately trace the origins of law back to violence, and could it be that law is in fact a continuation of violence by other means? To this purpose, there will be retraced the law-violence relation as portrayed in the Greek tragedy The Eumenides where Aeschylus focuses on Orestes’ trial, is of particular relevance when it comes to questioning the origins of law. At the same time, there will be followed the footsteps of Michel Foucault and Walter Benjamin who had the undoubted merit of having brought to light, within the tragic framework of the twentieth century, the relationship between law and violence.

12

Семантика театра в повести И. С. Тургенева После смерти (Клара Милич)

88%

Шелогурова Г.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2013

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issue 6

45-54

EN

The article presents an attempt of interpretation of the last story by Turgenev from the point of view of theatre as a specific cultural and social phenomenon. This approach enables us 1) to distinguish between concepts of drama and tragedy as they are used in the text and metatext of the story; 2) to get out of the text’s boundaries and to involve biographical and historical contexts to the analysis.

13

Les stratégies d’adaptation de quelques tragédies de Pierre Corneille dans le courant classiciste en Pologne (XVIIIe et XIXe siècles)

87%

Bajer M.

Studia Romanica Posnaniensia

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2014

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vol. 41

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issue 2

125-139

EN

The study discusses general rules of transforming Pierre Corneille’s texts in the transposition process, so as to fit the linguistic and cultural context of Polish classicism. The analysis concerns translations and adaptations following the first reception period of Corneille’s works in seventeenth-century Poland. These include: “Otto” by Stanisław Konarski, “Herakliusz” by Tomasz Aleksandrowicz from the years 1744-1749 (the second Polish reception period of Corneille’s works), “Cynna” by Franciszek Godlewski, as well as “Cynna” and “Horacjusze” by Ludwik Osiński from the years 1802-1808 (the third reception period). In the 18th century, the strategy of emphasizing didactic elements of texts is dominant. In 19th century, the authors strengthen suspense and the element of surprise; Aleksandrowicz uses prose and Osiński simplifies classical rhetoric. All of the translators share the ambition of enriching the Polish language and creating the tragic canon.

14

Dioniso a Milano: le atopie di Milo De Angelis

87%

Baldacci A.

Studia Romanica Posnaniensia

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2014

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vol. 41

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issue 4

5-9

EN

The essay focuses on Milo De Angelis’s poetic work, underlying his representation of the city of Milan as a tragic and mythic place, crossed by threatening energies on the basis of which the author emphasizes his dramatic tension with reality.

15

Wychowanie dziecka jako wyraz ludzkiej tragedii

87%

Dembiński M.

Studia Edukacyjne

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2019

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issue 55

93-108

EN

Raising, reduced to the formula of up-bringing does not (Polish: wy-chowan-nie), allows us to reveal what is hidden, and by denying it (-not), it enables a person to experience the sense of his essence and see the tragedy of his upbringing and the sense of his life. Featured upbringing and up-bringing-does not (written separately) results from the difference in the approach to truth. Today, upbringing in its objectifying children truth refers to the concept of veritas, and because it lost its original meaning or aletheia, in search of the truth of upbringing, it was reduced to the formula of up-bringing-does not. With the help of this formula, an attempt was made to reveal the real sense of upbringing and the conditions that should be met in order for human up-bringing-does not to have a human (aletheia) dimension.

16

A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann

76%

Śliwińska A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2019

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vol. 26

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issue 35

219-229

PL

This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.

17

On education in the perspective of tragedy

76%

Futyma S., Rudnicki Z.

Kultura-Społeczeństwo-Edukacja

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2019

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vol. 15

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issue 1

17-32

PL

Man experiences their existence constantly experiencing tension that emerges between that which is and that which could be, between the actual, known, and the unknown that barely shines in the horizon. In this uncomfortable experience, one can find potential for development, hidden behind a facade of pretence and camouflage, which, when disclosed and uncovered can be the “fuel” of satisfactory change. As a result, education can be in service of man once again. This process, as a fundamental experience, will assume the acceptance of truth about the human condition and the circumstances of its emergence in the course of life. Education not abandoning man must rediscover and re-evaluate such categories as fate, uncertainty, fragility, unforeseeability.

18

Hedonism and Indian philosophy of peace: An examination

75%

Gupta A. K., Saraf K.

IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych

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2017

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vol. 29/1

EN

This paper deals with critical analysis of western hedonism in the light of Indian theory of peace. Indian Philosophers have made ‘peace’ the goal of worldly human life, which is keeping equidistance from pleasure and pain. Attachment is the reason behind the presence of these two ‘sovereign masters’ of Human life. External thing or any other human being is not capable of indulging us either of them; it is the worldly attachment which brings Pleasure and pain. Pleasure and pain always come together. Western Hedonists could not go to the root of pleasure or pain in life. Their observation was mere empirical. Indian thinkers, except those of Carvaka school, have given a particular philosophy which is Peace oriented and which finds worldly pleasures or pains temporary and mostly ‘man-made’.

19

To Destroy or to Reform? Controversies on Plato’s Antitheatrical Attitude

75%

Marciniak M.

Estetyka i Krytyka

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2015

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issue 3(38)

7-20

EN

In my manuscript I engage Jonas Barish’s claim that Plato engenders an anti-theatrical prejudice, arguing that Plato’s critique of poets’ creation (tragic and comic) is marked by ambivalence. To emphasize the tensions in Plato’s dia-logues is not only to problematize the negative judgements against tragic and comic creation, but also to perceive Plato’s particular use of theatre in its metaphoric dimension to describe, inter alia, the phenomenon of human exis-tence or ideal legislation. My main hypothesis is that to perceive this com-plexity, we must take into account the literal and metaphoric dimensions of poetry and theatre. Only then can we capture the genuine theatrical potential of Plato’s dialogues: not only critical but also reformative. Moreover, new possibilities emerge when we consider Plato as a playwright, and Socrates as his privileged character. In light of this complexity, we can contest Jonas Baris’ declaration of Plato as progenitor of the ‘antitheatrical prejudice’.

20

Od „tragicznego” do „terapeutycznego” wymiaru filozoficznego etosu. Koncepcja filozofii w De consolatione Boecjusza

75%

Subczak M.

Logos i Ethos

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2014

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issue 1(36)

111–128

EN

The aim of this paper is to present metaphilosophical issues in Boethius’s De consolatione. His work takes up and continues the discussion of some ways of understanding philosophy and dimensions of philosophy, the sources of which are in the ancient tradition. In this paper I am going to point out that for Boethius philosophy is an art and a way of life. Having made this assumption, two other aspects of philosophy can be considered – the “tragic” and the “therapeutic” ones. While philosophical therapy has been frequently discussed by scholars as a dimension of Boethius’s “love of wisdom”, the “tragic” and “the way of life” aspects have not been rightly appreciated in their unity. The close relationship of these ways of understanding philosophy is evidenced by the fact, that their presentation in Boethius’s work takes the form of the sequence of events. At first we can see philosophy as a way of life, next there is a tragic end, and finally we can see philosophical therapy as a reaction to the tragedy. This paper aims at resolving the problem of philosophical ethos which combines the multidimensional approach to philosophy and makes the drama of “the way of life” so closely linked to the need of consolation.

Refine search results

Heglowska koncepcja tragedii

El laberinto de Fernando Arrabal como obra trágica

Tragic Innocence in Philip Roth’s American Pastoral

Fate in Thunderstorm by Cao Yu and Hippolytus by Euripides

Специфика колымского юмора

Δυσφημία. Greek Speech Transgression

Bogusława Wolniewicza rozumienie fenomenu śmierci

Plato’s Dialogues as a Foundation for Universal Dialogue