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Eurípidés a Platón: dvě podoby kritiky mýtu o autochtonii

100%
Daneš J.
Listy filologické (Folia philologica)
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2011
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vol. 134
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issue 3-4
245-263
EN
The myth of autochthony was one of the key elements of ancient Athenian democratic ideology. Therefore, it is not surprising that two clever critics and observers of Athenian democratic society – Euripides and Plato – paid particular attention to this myth. According to the myth of autochthony, the citizens (or the ancestors of the citizens) were not born of human mothers and fathers but fashioned in the earth. What are the political implications of the myth of autochthony in general? First, it provides the unity of political society and strictly separates citizens from non-citizens. Second, it explains the equal rights of the citizens. Third, it pretends that the boundaries of the cities in the world are dictated by nature itself and not by human contract or agreements. Fourth, it legitimises the exclusion of women from politics – the earth is the only mother of all citizens. Fifth, the myth of autochthony definitely resolves the permanent question: to whom does or did the land belong? In his tragedy Ion, Euripides questions the myth of autochthony and its implications for the foundation of a political society without women (the character of Creusa). He also suggests that Athenian society which thinks of itself as tolerant and open, is, in fact, on the basis of this myth, intolerant and xenophobic (the character of the old Tutor). On the one hand, the myth of autochthony provides order to the city, but on the other hand it closes and limits the possibilities of the city. Plato’s attitude is a little different. In the Republic he obviously acknowledges the value of this myth for the unity and stability of the political society, but he tries to eliminate the egalitarian implications of this noble lie, as Socrates calls it (Rep. 414c). So he introduces his own autochthony myth concerning the three classes of citizens (gold, silver, and iron-copper), thus legitimating a hierarchical political society.
2
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Ifigenia w pierścieniu, czyli o zagadce „szczęśliwego zakończenia” tragedii w ujęciu Arystotelesa

100%
Korusiewicz M.
Świat i Słowo
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2013
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vol. 11
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issue 1(20)
39-56
EN
The paper examines the possibility of solving the famous „puzzle“ of the XIV chapter of Aristotle’s Poetics: the idea of „happy ending“ plots as most apt to evoke tragic emotions and evaluated as „the best type,“ ranked higher than Oedipus Tyrannus. The subject of Author’s analysis is Iphigenia in Tauris, the only existing tragedy out of the three discussed by Aristotle. Multidimensional reflection on the play and its cultural, philosophical and literary contexts reveals the hidden structure of the texts: the old form of „ring composition“ found also in other works of Antiquity, i.e. in Homer. The possibility of placing the cathartic effect in the middle of the play, clearly presented by both Euripides and Aristotle, allows for the alternative interpretation of the Greek idea of the „tragic“, still permeated with delight in existence and far from so-called „tragic vision“ of the world, developed centuries later in contemporary existential philosophy.
3

AGONISTIKA A SOKRATOVSKÝ DIALÓG: EURIPIDES VERZUS PLATÓN

75%
Suvák V.
Filozofia (Philosophy)
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2023
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vol. 78
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issue 5
353 – 365
EN
The paper focuses on the place of struggles, the agones, in classical drama, and how the Socratic dialogue deals with them. The first part returns to Euripides, for whom the agones are an important tool for developing the dramatic plot. The next section deals with the struggle between two brothers in Euripides’ Antiope and relates it to Plato’s Gorgias, in which the protagonists refer to Euripides’ characters. The last part asks how the agonistic changes from Euripides to Plato, and what this change means for the genre of the Socratic dialogue. The starting point of this part is Bakhtin’s study on the novel as a dialogue.
4

Su una discussa citazione poetica nel De Exilio di Favorino (Col. VII,44-46): Nuovo frammento dell’Andromeda di Euripide?

75%
Amato E.
Listy filologické (Folia philologica)
|
2011
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vol. 134
|
issue 3-4
265-284
EN
The thorough analysis of the language, metrics and content of the poetic quotation in the Favorinus’ De exilio (col. VII,44–46) suggests its attribution to a Greek tragedian (perhaps Euripides – the Andromeda or a tragedy in connection with the Perseus’ myth, such as Danae or Dictys) rather than to Pindar.
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