Search results

1

Maski Bakchantek

100%

Rybowska J., Łódzki U.

Collectanea Philologica

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2004

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vol. 08

LA

In hoc opusculo quaestio tractatur quid verum de bacchatione dici possit; deinde in scriptis tragicis personas bacchantum quaerunt, quae ad demonstrandum dolorem atque furorem ab auctoribus creatae sunt.

2

L'origine del culto dionisiaco e della tragedia

100%

Bologna O., di Roma U. P. S.

Collectanea Philologica

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2004

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vol. 08

LA

Tragoediis visis et lectis, litterarum Graecarum periti nec non philosophi, ut Aristoteles et Nietzsche, generis originen vestigaverunt, multos et doctos libros conscripserunt, multa et utilia ad genus comprehendendum posteritati tradiderunt.Sed remotam et longinquam originem nullus umquam attigit, quia mentes in litteras Graecas tantum verterunt.

3

Termín a koncept sófrosyné u Aischyla a Sofokla

80%

Daneš J.

Filosofický časopis (Philosophical Journal)

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2017

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vol. 65

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issue 5

673-689

EN

In this article, I examine the instances of the term and concept of σωφροσύνη (sophrosyne) in Greek tragedy, taking in the extant plays of Aeschylus and Sophocles. I correct, or expand, conclusions arrived at by the authors de Vries, Kollman and North. I further focus in detail on the tragedies, or on passages in them, and on the themes connected with them which these authors have given less attention to. One of these is the manipulation of ethical discourse. Aeschylus, as well as Sophocles, in their extant plays, stress the manipulation of ethical discourse in relation to power and conformism. In this they differ from Euripides – whom I will discuss in a separate text – who concentrates more on the egoism of the rational agent in “private” life.

4

Bóstwa i demony kobiece w tragedii greckiej

80%

Czerwińska J.

Collectanea Philologica

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2017

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issue 20

5-20

EN

The article focuses on female deities and demons appearing in ancient Greek tragedy. At the beginning the classification of female deities and demons is made followed by description of its two categories. The first category consists of deus ex machina characters exemplified by Athena from Iphigenia in Tauris by Euripides. The second is depicted in the image of Erynies that appear both in the action (Aeschylus’ Eumenides) and in commentaries (Euripides’ Iphigenia in Tauris).

PL

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5

Emocjonalizm Arystotelesa i znaczenie pojęcia katharsis

80%

Sosnowski L.

Estetyka i Krytyka

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2011

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issue 2(21)

139-148

EN

The author suggests that pity, fear, and catharsis are experienced not only by the audience but by the playwright and actors as well. This, of course, inevitably involves him in the old problem of whether the actor himself must feel the emotions that he is trying to portray. Furthermore, Brunius suggests that the three elements are already inevidence in the original story behind the trage.

6

Eurypidejska "Andromeda": stan zachowania i próba rekonstrukcji fabuły

70%

Piątkowski M.

Collectanea Philologica

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2011

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vol. 14

LA

Secundum mythologiam Graecam Andromeda filia Cephei e Cassiepeiae erat. A patre suo ad terram propriam a monstro marino conservandam sacrificata, a Perseo liberata est, qui Andromedae narrationem audivit, eam amavit et cum ea coniunctus est. Hic mythus Euripidem ad tragoediam scribendam hortatus est, Andromedam, quae tamen usque ad tempora nostra non conservata est - hodie solum fragmenta eius habemus. Probabiliter hoc in opere auctor opem affectuum spectatoribus demonstrare desiderabat; eo ipso de vi amoris ardentis disceptatur, qui homines improviso capere potest. Ad fabulam restituendam res ab Euripide exposita cum Aristophanis comoedia (Thesmophoriazusae) confertur, quae fabulam ab Euripide narratam continet. Hoc in modo Aristophanes fabulam propriam facilius ad finem adduxit.

7

Change of Rhythm as a Compositional Technique

70%

Stępień P.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

The paper demonstrates rules and some of the basic applications of metarhythmia that is one of the compositional techniques used by Greek tragedians. The presentation of the examples is proceeded by discussion on the phenomenon of the so-called verbal rhythm, and distinction between metrical pattern and its syllabic realization. In the context of metarhythmia, verbal rhythm produces rhythmic ambiguity that reveals itself in specific syllabic realizations of metrical patterns. The result of the process is used by poets to generate consecutive rhythmic phrases (cola), and thus to shape artistically the structure of a song.

8

Cagnazzo Daniela Immacolata, Alcune note su Eschilo (?), P.OXY. XX 2247

70%

Cagnazzo D. I.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2020

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vol. 30

EN

This paper analyzes P.Oxy. XX 2247, which is attributed to Aeschylus on the paleographic basis. After a general presentation of the papyrus, a linguistic commentary is proposed, suggesting, where it is possible, some remarks and overall reconstruction of the context; moreover, we discuss elements that confirm the attribution of this work to Aeschylus.

9

Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)

61%

Skwara E.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

This article is a voice in the discussion on the methods of stage implementation of Greek tragedy. The discussed staging of “Oedipus Rex” opera by Stravinsky (Tokyo ‚94) is dominated by non-verbal means of expression (music, set design, costume, stage movement), thus setting a supporting role for the libretto. Nevertheless, the performance arouses similar feelings and emotions as Sophocles’ drama.

10

On sexuality, carnality and desire: philosophical reflections on the film The Monk

61%

Michna N. A., Czakon D., Tendera P.

Estetyka i Krytyka

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2015

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issue 2(37)

79-104

EN

The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, carnality and physical desire. In the context of these issues we have attempted to analyse and interpret this cinematic work of art. The method we have adopted is based on a thorough discussion on the topics developed in the film and related issues. This method, while not pretending to scientific objectivity, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and questions which remain open. The formula we have adopted is to quote lines from the film The Monk which permit the analysis of selected issues related to sexuality, carnality and physical desire. Moreover, these quotes serve to order the text and enable the precise identification of interpretive trains of thought.

11

Czy łacińscy Ojcowie Kościoła znali tragediopisarzy greckich?

61%

Stępniewska A.

Vox Patrum

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1986

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vol. 11

607-626

FR

L’auteur montre dans l’article la connaissance des ecrivains tragiques grecs chez les Peres latins de l’Eglise.

12

Psychotic phenomena in Euripides’ Heracles

61%

Stróżyński M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

The article is an attempt at the psychoanalytic interpretation of the Euripidean Heracles. The theory used to explain psychological phenomena of the play is Melanie Klein’s concepts of the paranoid-schizoid and depressive position, as well as contributions to the understanding of psychotic thinking made by her followers: Hanna Segal, Wilfred Bion, Herbert Rosenfeld, and John Steiner. Characters in the play, in their speech and behaviour, as well as in the chorus’ songs, reveal a significant number of primitive psychological mechanisms, such as splitting, denial, idealisation and projective identification. The analysis of those mechanisms expressed in literary material allows to see the much argued continuity of Euripides’ extraordinary play.

13

Zjawiska psychotyczne w 'Heraklesie' Eurypidesa

61%

Stróżyński M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2011

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vol. 21

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issue 2

109-143

EN

Euripides’ Heracles has drawn the attention of numerous scholars, since Willamowitz’s excellent commentary on the play. The play has been seen as lacking unity, full of contradictions, incoherent, bizzarre even. Later critics tried to show structural unity, especially by analyzing recurrent motifs and ideas. The madness was being explained by Willamowitz, Verrall, Pohlenz, Grube and others with reference to Heracles’ inner process, of a “megalomaniac” character. Such psychological interpretations of madness were widely questioned in the second half of the 20th century, and Heracles himself provoked extreme reactions and opinions of scholars. In the article Heracles’ madness is considered a central theme of the play, expressed both in the fragmented and split structure of it and in the contradictions and bizzarre elements within the tragedy. I used Melanie Klein’s (especially, the concepts of the paranoid-schizoid and depressive positions as well as of primitive defense mechanisms) and her followers’ (especially, Segal’s notes on symbol formation and Bion’s theory of psychotic thinking) theory to show the essentially psychotic character of the play. The dramatis personae, in their behavior and words manifest such psychotic mechanisms as splitting, denial, idealization, projective identification, omnipotent control as well as primitive envy. The gods can be seen as projections of Heracles and other characters, as well as of the common unconscious space of the play (“the analytical third” of the tragedy, to use Thomas Ogden’s concept). The climactic Heracles’ madness is understood as a breakdown of psychotic defense mechanisms, cause by intense, yet split off, envy and by a powerful threat to dependent parts of the self, symbolized in Heracles’ children and wife. The whole tragedy is a way from the world of fantasy, gods, underworld towards more realist world of human beings and their relationships, which in Kleinianism can be conceptualized as a movement from the paranoid-schizoid position to the depressive one.

14

Fatum i absurd. Inspiracja tragedią grecką w twórczości Alberta Camusa

57%

Roś J.

Racjonalia. Z punktu widzenia humanistyki

|

2013

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vol. 3

EN

The purpose of this article is to show that the Greek drama for Albert Camus was an expression of the universal experience of the cruelty of fate. Dramatic stories of Oedipus and Prometheus were for him a kind of map of the world with space selected for the man and his denial of suffering. Camus knows that in the tragedy even a man who is a „plaything of the gods”, maintains strength and honor in his defeat, and that the hero embroiled in horror stories, preserves the dignity, which adds faith and courage. This is where Camus found the connotation between the concept of fate and absurd, because absurd can’t be defeated by force of human will, a munity directed against absurd does not save the Man from misfortune.

15

Zapomniani tłumacze starożytnych greckich tragedii

57%

Bibik B.

Porównania

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2020

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vol. 26

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issue 1

123-138

EN

There is an ample number of Polish renditions of ancient Greek tragedies. Unfortunately, only a few names of those Polish translators are commonly known. The rest, written especially in the 19th century, is still waiting for someone to be interested in their works. Therefore, in my paper I would like to focus on the unrecognizedtranslators from this century. They are widely forgotten today, yet they did great work at the time to acquaint the Polish public with Greek tragedies. My aim is also to recognize the tragedies they chose to translate which often seem not to be an obvious choice.

PL

Z licznego, jak się okazuje, korpusu polskich przekładów greckich tragedii powszechnie funkcjonuje zaledwie kilka nazwisk tłumaczy. Na rozpoznanie wciąż czekają kolejni tak dziewiętnasto-, jak i dwudziestowieczni tłumacze. Jako przyczynek do zarysu historii polskiej literatury tłumaczonej chciałabym w niniejszym artykuleskoncentrować się przede wszystkim na tych mniej znanych, dziewiętnastowiecznych tłumaczach starożytnej literatury dramatycznej. Są oni dzisiaj często zapomniani, a przecież torowali drogę starożytnym dramatom w polskiej kulturze w nie mniejszym stopniu niż te zapamiętane, wielkie nazwiska. Dodatkowo chciałabymsię przyjrzeć proponowanym przez nich ówczesnej publiczności tekstom, nie zawsze stanowiącym oczywisty wybór spośród zachowanego korpusu starożytnych tragedii.

16

Moral and Social Values from Ancient Greek Tragedy

51%

Xanthaki-Karamanou G.

Dialogue and Universalism

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2015

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issue 1

20-29

EN

The paper deals globally with the history of human and social values from Homer and Hesiod to the end of the fifth century. Special emphasis is given on the moral and social concepts expressed in some fundamental texts of the three major tragic poets (Aeschylus, Sophocles and Euripides). The paper is particularly focused on the signifi-cant discrimination between the competitive values, such as wealth and noble origin, and the cooperative ones, expressed in the concepts of justice, wisdom, temperance, modesty, and nobility of character, as well as the respect for the law and the human and political rights, which shaped the development of democracy.

17

Clytemnestra Rejoicing

41%

Bibik B.

Meander

|

2022

18

Dziedzictwo antyku w twórczości Romana Brandstaettera (kilka przybliżeń)

41%

Kaczmarek W.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 3: Filologia Klasyczna

81-92

EN

The subject matter of the article is the relationship between ancient literature and Brandstaetter’s writings. The Polish writer interprets motifs from Greek mythology and ancient dramas in the light of Christian anthropology. The author of the article demonstrates examples of such an interpretation in Brandstaetter’s “Odys płaczący” (“Odysseus Weeping”), in which the effect of anagnorisis is broadened by the Christian understanding of kenosis. Odysseus’ return home becomes a metaphor of the paschal passage from sin to grace.

19

Lalka – Ludzie bezdomni. Z zagadnień tragizmu bohaterów

41%

Baudysz T.

Ogrody Nauk i Sztuk

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2015

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issue 5

466-471

PL

O ile po pobieżnej lekturze Lalki oraz Ludzi bezdomnych można odnieść wrażenie, że autorzy obu powieści stosują zupełnie różne rozwiązania formalne, aby nadać swoim dziełom ostateczny kształt, o tyle wnikliwsza analiza pozwala dostrzec kilka inspiracji kompozycyjnych zastosowanych przez Żeromskiego, czerpiącego bezpośrednio z dokonań warsztatu pisarskiego Prusa. Spójne koncepcje kompozycyjne obu powieści są jednak podszyte regułami ustalonymi na długo przez końcem XIX wieku — obaj pisarze znajdują bowiem wyraźną inspirację w teorii tragedii antycznej Arystotelesa. I choć prawidła Stagiryty dotyczą dramatu, to doskonale sprawdzają się także podczas wydobywania tragicznych rysów bohatera na gruncie dzieł epickich, co — zdaje się — doskonale przeczuwali Prus i Żeromski, swoiście transponując formalne reguły tragedii antycznej do swoich powieści. W artykule autor prześledzi naznaczone tragizmem losy Wokulskiego i Judyma, przykładając do nich wypracowany przez Arystotelesa schemat tragedii greckiej.

EN

Whereas a cursory reading of The Doll and The Homeless may give the impression that the authors of each of these novels use completely different formal solutions to give the final shape of their works, a more thorough analysis reveals several compositional inspirations used by Zeromski, drawing directly on the school of Prus. But the common compositional concept of both novels was established in literary convention long before the end of the 19th century — both writers take a clear inspiration from Aristotle's theory of ancient tragedy. Although Aristotle’s rules related to drama, they are also useful for the construction of epic works. In this paper, the author traces the tragic fate of Wokulski and Judym, using Aristotle’s theory of Greek tragedy.

20

Ifigenia w Taurydzie Eurypidesa: poetyka traumy, estetyka horroru i katharsis na scenie

41%

Pypłacz J.

Biuletyn Biblioteki Jagiellońskiej

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2019-2020

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vol. 69-70

5-15

EN

Euripides’ tragedy Iphigenia in Tauris is an interesting combination of something that today’s theatre-goers would describe as being a classic horror play based on the motif of a childhood trauma (on the one hand) and – on the other hand – a cleverly designed metatheatrical study of how the mechanism of (Greek) tragedy really works. The terrifying, cruel and murder-obsessed Iphigenia is at one and the same time a wronged, unhappy child imprisoned in the body of a grown woman. She struggles with her pain by re-enacting her own unaccomplished murder in a sinister „theatre within a theatre”, i.e. in the temple of Arthemis, where – among macabre decorations made from remnants of the bodies of those Greek sailors that she has slain so far – she ritually kills any further newcomers from her homeland. An unexpected visit by her brother Orestes proves to be an effective remedy for Iphigenia’s distress. In this play, Euripides not only enables his audience to achieve catharsis, but also – through metatheatrical means – shows us exactly how a human mind is purged of dangerous emotions: as soon as Iphigenia stops concentrating on her own pain and starts to sympathize with Orestes, her mind is cured, and she is restored to a state of happiness. At the same time, the audience – who sympathize wih the characters – also feel a sense of relief. Iphigenia in Thauris is therefore a play within a play that shows us how a good tragedy works.

PL

Ifigenia w Taurydzie Eurypidesa w interesujący sposób łączy w sobie to, co dzisiejsi odbiorcy opisaliby jako klasyczną grozę opartą na motywie traumy z dzieciństwa (z jednej strony) oraz inteligentną, metateatralną analizę działania mechanizmu (greckiej) tragedii. Okrutna, mściwa bohaterka owej sztuki jest zarazem skrzywdzonym, nieszczęśliwym dzieckiem uwięzionym w ciele dorosłej kobiety. Walczy z dręczącymi ją wspomnieniami w specyficzny sposób, w nieskończoność inscenizując scenę własnej śmierci z rąk rodzonego ojca, Agamemnona. Świątynia w kraju Taurów służy jej jako osobliwy „teatr w teatrze”, gdzie – wśród makabrycznych dekoracji wykonanych ze szczątków ciał greckich żeglarzy – dręczona wspomnieniami dziewczyna rytualnie zabija kolejnych przybyszów ze swej ojczyzny. Nieoczekiwana wizyta brata, Orestesa, okazuje się skutecznym lekarstwem na owo niekończące się cierpienie Ifigenii. W sztuce tej Eurypides nie tylko umożliwia odbiorcom osiągnięcie katharsis, lecz także – za pomocą środków metateatralnych – pokazuje im dokładnie, na czym owa katharsis polega; w jaki sposób ludzki umysł oczyszcza się ze szkodliwych emocji. Gdy tylko Ifigenia przestaje koncentrować się na własnym cierpieniu i przenosi swą uwagę na podobnie jak ona sama udręczonego Orestesa, odzyskuje utraconą równowagę umysłu. Jednocześnie publiczność – która, naturalnie, solidaryzuje się z bohaterami – także odczuwa ulgę. Ifigenia w Taurydzie jest więc „sztuką w sztuce”, która pokazuje, jak funkcjonuje dobrze skonstruowana tragedia.

Refine search results

Maski Bakchantek

L'origine del culto dionisiaco e della tragedia

Termín a koncept sófrosyné u Aischyla a Sofokla

Bóstwa i demony kobiece w tragedii greckiej

Emocjonalizm Arystotelesa i znaczenie pojęcia katharsis

Eurypidejska "Andromeda": stan zachowania i próba rekonstrukcji fabuły

Change of Rhythm as a Compositional Technique

Cagnazzo Daniela Immacolata, Alcune note su Eschilo (?), P.OXY. XX 2247

Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)

On sexuality, carnality and desire: philosophical reflections on the film The Monk

Czy łacińscy Ojcowie Kościoła znali tragediopisarzy greckich?

Psychotic phenomena in Euripides’ Heracles

Zjawiska psychotyczne w 'Heraklesie' Eurypidesa

Fatum i absurd. Inspiracja tragedią grecką w twórczości Alberta Camusa

Zapomniani tłumacze starożytnych greckich tragedii

Moral and Social Values from Ancient Greek Tragedy

Clytemnestra Rejoicing

Dziedzictwo antyku w twórczości Romana Brandstaettera (kilka przybliżeń)

Lalka – Ludzie bezdomni. Z zagadnień tragizmu bohaterów

Ifigenia w Taurydzie Eurypidesa: poetyka traumy, estetyka horroru i katharsis na scenie