Wyniki wyszukiwania - Biblioteka Nauki

1

Termín a koncept sófrosyné u Aischyla a Sofokla

100%

Daneš J.

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nr 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.

2

Podsłuchać tajemnicę poety… Ajschylos i reminiscencje ajschylejskie w twórczości Jana Kasprowicza

100%

Bibik B.

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2016

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nr 19

105-116

EN

Jan Kasprowicz, lived in 1860–1926, whose fame and glory is nowadays in the shadow, in his time was considered one of the greatest and most important Polish poets and authors. He was a diligent translator, who made Polish public accustomed with a great number of pieces of worldwide literature. He made about eighty translations of different works which is a huge and rare number, especially when taking into account only one person who was at the same time an author of his genuine works, an academic scholar and a journalist. He was fascinated and inspired by Aeschylus from the time he was a schoolboy. And thus we may find many reminiscences of Aeschylus’ poetry in his genuine works. His fascination which lasted many years culminated with the translation of Aeschylus’ tragedies into Polish. As for Kasprowicz Aeschylus was ‘the king of the tragic playwrights and the most powerful worldwide author of the tragedies’.

3

Eschilo, Agamennone, 1200

100%

Lapini W.

Eirene. Studia Graeca et Latina

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2013

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tom 49

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nr 1-2

117-122

EN

Textual note on Aeschylus, Agamemnon 1200. Read στόμα instead of πόλιν.

4

Didaskalia w przekładzie tekstu dramatycznego (na przykładzie Orestei Ajschylosa)

88%

Bibik B.

Między Oryginałem a Przekładem

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2013

|

tom 22

57-75

EN

We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there are no stage instructions. Without no doubts the fifth century BC tragedies were the theatre productions. And they were influenced by the Athenian theater of the day – its natural location, architecture, theatre equipment and stage design. In every age the drama is influenced by the theatre of its days. The authors of the translations I am interested in this article inserted the stage directions in their translations. And I would like to examine what kind of staging they suggest. And whether they are devoid or not of the influences of or the references to the stages and theatres of authors’ time.

5

Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część I: Mneme w utworach Ajschylosa i Sofoklesa

88%

Narecki K.

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nr 21

5-23

EN

The aim of the study, which is a continuation of this type of research (based on Greek literary sources of the Presocratic era), is to determine the meanings of the concept of mneme – “memory” in the works of Aeschylus and Sophocles, as well as to determine the function it plays in a given place. Linguistic and literary analysis of 12 instances of a noun mneme in Aeschylus (3) and Sophocles (9) shows that this concept reveals hitherto unknown semantic shades. Aeschylus gives mneme a new meaning of “worship” (in Suppliants). He also uses the already known: intellectual “power of memory” and for the first time in the history of Greek literature identifies “memory” with the mother of all muses – Mnemosyne (in Prometheus Bound). More often mneme appears in the works of Sophocles, which results from the functions performed there. After all, the intellectual “power of memory” and “memories” as the effects of its actions allow the characters to: (1) do well (and thus keep the moral order), (2) get to know the truth about ourselves (to recognize our own identity) changing the course of dramatic action as part of the peripeteia (the case of Oedipus), (3) lead (as the driving force) to destruction of heroes (Jocasta, Oedipus), (4) drive the action (as “thought”), (5) serve as a moral compass (in a new semantic shade “attention”, in Oedipus at Colonuss), (6) store a resource (memories) as a deposit in collective memory as a warning for posterity. And finally, for the first time in history, the concept of mneme as a tool of mimesis is used in Oedipus Rex in the new sense: “the ability to (re)create” (inspired by Mnemosyne) or otherwise: “poetic art of reconstruction” of dramatic events. Defined meanings (semantic shades) of mneme can be divided into 2 groups. The first group includes those that take rational value: “power / ability to remember”, “thought”, “attention”), while the other holds the expressive meanings: “worship, honour, commemoration”, “(re)creative, poetic reconstruction”. It seems that the Greek tragedians were aware of the role that mneme can play in their works: whether in the depiction of the characters, or as an element that drives the action, or in recalling, in various ways, the past and its cultivation.

6

L’Inde dans la mise en scène des chefs-d’oeuvre européens d’Ariane Mnouchkine

88%

Hasiuk M.

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2016

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nr 19

77-90

EN

The text discusses influences and oriental inspirations, mainly Indian and Japanese, present in the staging of Shakespeare’s plays (Richard II, Henry IV, Part I and Twelfth Night), Euripides (Iphigenia at Aulis) i Aeschylus (Oresteia) in the Théâtre du Soleil. Owing to the incorporation of ‘the imagined orient’ in the Shakespearean cycle, Mnouchkine evoked the image of the world immersed in the supernatural. Placing Iphigenia at Aulis before Oresteia, the director created her own tetralogy. Consciously applying staging strategies, she did not use Greek documents but instead combined documentation from Turkey and the Caucasus with oriental traditions such as kathakali and bharata-natyam. Drawing on references which were unknown (or long since forgotten) and never before used, she staged ‘probably the richest and the most satisfactory of all productions of Athenian tragedies’ (Ubersfeld).

7

„Dom, dom, niby robak, toczy klątwy moc niezwalczona” (o „skażonej” rodzinie na przykładzie Orestei Ajschylosa, Ifigenii w Aulidzie Eurypidesa oraz (A)pollonii K. Warlikowskiego i Ifigenii A. Grzegorzewskiej)

75%

Bibik B.

Państwo i Społeczeństwo

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2013

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nr 3

163-178

EN

The Greek tragedies very often deal with the problem of family, blood ties and or versus marriage ties. The issue of the value and the respect for the family is as important for the Greek playwrights as for the modern theatre producers, for whom the Greek tragedies are very often an important source for their productions. One of those productions, and undoubtedly very controversial one, is the spectacle of Warlikowski titled „(A)pollonia” which is the combination of ancient and modern texts, like tragedies of Aeschylus and Euripides and the prose of Coetzee, Krall and Littell. Among many issues raised by this spectacle there is also one concerning the problem of family ties. To present this issue Warlikowski uses the Aeschylus’ „Oresteia”, one of the most important European tragic drama. Another staging I would like to deal with in this paper is „Iphigenia” by Grzegorzewska. I am interested in it because of the similar issue raised by this staging. The turbulent and cruel history of the accursed Pelopidai associates both of those stagings and texts they are based on. In this paper I would like to examine the use of ancient tragedies in the mentioned stagings as well as the image of the modern (?) family that is presented in those theatre productions.

8

Didaskalia w Orestei Ajschylosa jako projekt inscenizacji tłumacza (na przykładzie Agamemnona)

75%

Bibik B.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2016

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tom 26

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nr 1

53-75

PL

We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there areno stage instructions. Without no doubts the fifth century BC tragedies were theatre productions. Of course theywere influencedby the Athenian theater of the day, but in every age the drama is influenced by the theatre of itsdays. And translation of a drama requires to be imagined by the translator who is never free from any influencesor references to the stages and theatres of authors’ time. That is why in this paper I would like to examine whatkind of staging the translators suggest in their translations and stage directions they insert in the texts.

9

Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies

65%

Śmiechowicz O.

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tom 29

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nr 2

5-16

PL

In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.

10

L’Halys chez Hérodote

63%

Leloux K.

Studia Hercynia

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2017

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tom 21

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nr 1

15-24

EN

This paper analyses the Halys River description made by Herodotus in his Histories. This study focuses on the several references made by the Father of History in his work. It will examine the part the river took in his vision of the politic, ethnic and geographic state in the historian’s mind and the problems that arise by this presentation. Finally, this article will demonstrate that every crossing of the Halys River made by the Barbarians were a bad omen for the Greeks of Asia Minor and in Greece itself.

11

Athény: velmoc a válka v Aischylově dramatu

63%

Daneš J.

Filosofický časopis (Philosophical Journal)

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2024

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tom 72

|

nr 2

243-261

EN

Using the example of Aeschylus’ tragedies Persians, Agamemnon, and Eumenides, the author shows how a native Athenian and soldier worked with the theme of war. It analyses the degree to which military success and warfare are portrayed positively and ideologically in these plays or, by contrast, critically, which is manifested above all by the emphasis on the price that must be paid for war and warfare. The themes of all the dramas under discussion are seen as being topical in the present time. In the case of Persians, it is a study of the collapse of the imperial ambitions of the despotic Persian Empire in its clash with the free world of Greece and, above all, Athens. The tragedy of Agamemnon dramatises the effects of a long, albeit just, war on the hegemon of the coalition forces, the city-state of Argos, and its ruling family. Military success is accompanied by a long-lasting domestic crisis and the collapse of the ruling family. In Eumenides, this crisis of the divided society and ruling family subsides and then fades away.

CS

Na příkladu Aischylových dramat Peršané, Agamemnón a Eumenidy autor ukazuje, jak rodilý Athéňan a voják pracoval s tématem války. Analyzuje, nakolik jsou vojenský úspěch a válčení v uvedených hrách vykresleny pozitivně a ideologicky, nebo naopak kriticky, což se projevuje především ve zdůraznění ceny, jakou je třeba za válku a válčení zaplatit. Témata všech zmíněných dramat jsou v současnosti vnímána jako aktuální. V případě Peršanů jde o studii kolapsu imperiálních ambicí despotické Persie při střetu se svobodným světem Řecka a především Athén. Tragédie Agamemnón dramatizuje dopady dlouhé, byť spravedlivé války na hegemona koaličních sil, obec Argos, a její vládnoucí rodinu. Vojenský úspěch provází dlouhotrvající domácí krize a rozvrat vládnoucího rodu. V Eumenidách tato krize rozštěpené společnosti a vládnoucí rodiny doznívá a odeznívá.

12

Clytemnestra Rejoicing

51%

Bibik B.

Meander

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2022

13

Prometejskie zmagania

51%

Bibik B.

Przekłady Literatur Słowiańskich

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2023

|

tom 13

1-28

EN

On March, 11, 1937 the Polish Radio broadcasted the radio play based on Aeschylus’s tragedy titled Prometheus bound. Stefan Srebrny, the professor at the Stefan Batory University in Vilnius at the time, was responsible for this radio play. He was a well-known academic and translator. While preparing for the radio play he used the translation given by Jan Kasprowicz, one of the greatest Polish poet at the turn of the 20th century. The recording did not survive the World War II, but we still have the translation by Kasprowicz on which Srebrny made notes while preparing the radio play which gives us at least some insight both on the radio play itself and the work of an academic and translator who had to struggle with the legend of the one of the greatest poets.

PL

11 marca 1937 roku Polskie Radio wyemitowało słuchowisko oparte na tragedii Ajschylosa Prometeusz w okowach. Autorem opracowania był ówczesny profesor Uniwersytetu Stefana Batorego w Wilnie, Stefan Srebrny, osoba cieszącą się niezwykłą estymą w środowisku tak naukowym, jak i artystycznym. Przekład, którym na potrzeby słuchowiska się posłużył, był autorstwa Jana Kasprowicza, nieżyjącego już, jednak niewątpliwie jednego z największych poetów przełomu XIX i XX wieku. Ponieważ samo nagranie nie zachowało się w archiwach Polskiego Radia, przedmiotem mojego zainteresowania w artykule jest tekst przekładu Jana Kasprowicza, wydany w serii II Biblioteki Narodowej, który był własnością Stefana Srebrnego i na którym wileński, a następnie toruński, profesor nanosił adnotacje pozwalające nam - w jakiejś mierze - usłyszeć to słuchowisko, w którym mierzył się z legendą (i pracą) wielkiego poety.

14

Rozkosz Klitajmestry

51%

Bibik B.

Meander

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2022

|

nr 77

33-50

PL

Artykuł omawia cztery polskie przekłady Agamemnona Ajschylosa (pierwszej część trylogii Oresteja) – pióra Zygmunta Węclewskiego, Jana Kasprowicza, Stefana Srebrnego i Artura Sandauera – i w szczególności podejmuje próbę uchwycenia tego, jak tłumacze rozumieją i przedstawiają Klitajmestrę, postać niejednoznaczną i złożoną, która nie mieści się w ramach narzuconych przez społeczeństwo, w którym żyje. Zestawienie czterech tłumaczeń z greckim oryginałem ujawnia różne strategie wybrane przez tłumaczy, które zaświadczają o ich rozumieniu sztuki.

15

The Mouse’s Long and Sad Tale: Lewis Carroll’s Tricky Use of Aeschylus and Other Greek Sources

38%

Soto F. J.

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nr 4.2

291-311

EN

In this paper I set out to provide a close reading of Carroll’s “The Mouse’s Tale” with special focus on parts of the Greek mythologicodramatic tradition. I argue that Carroll’s poem about a trial involving Fury and a Mouse can be traced to two ancient counterparts who partook in the most famous trial in the Greek mythological tradition: the Furies and Apollo.

HR

Cilj je rada ponuditi pomno čitanje Carrollove „Mišje priče“, pri čemu se posebna pozornost posvećuje grčkoj mitološko-dramskoj tradiciji. Čitanje polazi od pretpostavke da su sudionici najpoznatijega suđenja antičke grčkomitološke tradicije, Furije i Apolon, preteče likova Furije i Miša koji sudjeluju u suđenju opisanome u Carrollovoj stihovanoj priči.

DE

Im Beitrag wird Carrolls „Mausgeschichte“ textnah gelesen, wobei diesbezüglich der Tradition der altgriechischen Mythologie bzw. deren Dramenproduktion besondere Aufmerksamkeit gewidmet wird. Eine solche Lesart geht von der Annahme aus, dass die Teilnehmer an dem bekanntesten Gerichtsfall aus der antiken griechisch-mythologischen Tradition, die Furien und Apollon, Vorbilder für die Gestalten der Furie und der Maus abgeben, die dann an dem in Carrolls Versgeschichte beschriebenen Gerichtsprozess teilnehmen.

16

Norwidowska reinterpretacja mitu prometejskiego

32%

Kłobukowski M.

Studia Norwidiana

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2015

|

tom 33

77-108

EN

The author’s aim is to reflect on one of the rudimentary myths constituting the European identity, that is the Promethean myth, and on its interpretation present in Norwid’s works. Kłobukowski states that the author of Promethidion interprets the story of the good Titan in a way that is different from that in which most poets of the 19th century Europe interpreted it, that is by referring to ancient sources of the myth in works by Hesiod, and not by Aeschylus; and that this interpretation has a character of a manifesto. At the same time Norwid, interpreting the story of Prometheus, enters a polemic with Western Romantics as well as with Mickiewicz and the poetic anthropology present in the main current of Romanticism, that was first of all based on such features as rebellion, autonomy of an individual, self-determination, or self-deification. The poet suggests a different vision of human subjectivity; he Christianizes the myth, at the same time doing the work of a comparatist and an anthropologist – comparing the figure of the Titan and the Biblical Adam (Promethidion), suggesting that it is not rebellion, but work is man’s true vocation. Norwid also interprets the phenomenon of the language and its history in the context of the Promethean myth, which he perceives as a myth of the fall (On Freedom of Speech). Kłobukowski also analyzes one of the most important mythemes from the story of Prometheus – that of sacrifice, that, according to Western Romantics, was connected with creating an individualist “I”. Norwid interprets the meaning of sacrifice in a different way – namely, as a phenomenon showing the fullness of humanity and acceptance of the imperfection of the human condition.

17

Norwidowska reinterpretacja mitu prometejskiego

32%

Kołbukowski M.

Studia Norwidiana

|

2015

|

tom 33

77-108

EN

The author’s aim is to reflect on one of the rudimentary myths constituting the European identity, that is the Promethean myth, and on its interpretation present in Norwid’s works. Kłobukowski states that the author of Promethidion interprets the story of the good Titan in a way that is different from that in which most poets of the 19th century Europe interpreted it, that is by referring to ancient sources of the myth in works by Hesiod, and not by Aeschylus; and that this interpretation has a character of a manifesto. At the same time Norwid, interpreting the story of Prometheus, enters a polemic with Western Romantics as well as with Mickiewicz and the poetic anthropology present in the main current of Romanticism, that was first of all based on such features as rebellion, autonomy of an individual, self-determination, or self-deification. The poet suggests a different vision of human subjectivity; he Christianizes the myth, at the same time doing the work of a comparatist and an anthropologist – comparing the figure of the Titan and the Biblical Adam (Promethidion), suggesting that it is not rebellion, but work is man’s true vocation. Norwid also interprets the phenomenon of the language and its history in the context of the Promethean myth, which he perceives as a myth of the fall (On Freedom of Speech). Kłobukowski also analyzes one of the most important mythemes from the story of Prometheus – that of sacrifice, that, according to Western Romantics, was connected with creating an individualist “I”. Norwid interprets the meaning of sacrifice in a different way – namely, as a phenomenon showing the fullness of humanity and acceptance of the imperfection of the human condition.