Wyniki wyszukiwania - Biblioteka Nauki

1

Clytemnestra Rejoicing

100%

Bibik B.

Meander

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2022

2

Dwie lub trzy Kasandry i co o nich wiem. Kilka uwag

100%

Wesołowska E.

Prace Filologiczne. Literaturoznawstwo

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2014

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nr 4(7)

35-46

EN

Cassandra is a peculiar female character in ancient mythology and literature. She appears as early as Homer’s epic, and then incidentally in Aeneid. A would-be lover of Apollo, seer, doomed to disbelief, concubine of Agamemnon, and killed with him on their arrival to Mycenae, she is tragic and it is the tragedy, where she is presented most fully, i.e. in plays by Aeschylus, Euripidesand Seneca. However, her personality traits are so poorly determined that it leaves room for the authors’ actions organising her profile anew. Andso, in Aeschyluss he is a prophetess of her impending death, but she does not try to defend herself. In Seneca, she relates what is covered from spectators’ eyes. She happens to be the symbol of reconciliation, but in Euripides’ Helen she personifies the element of revenge. She is Apollo’s medium, and at the same time she apparently discredits his prophetic power since she was able to cheat him on some occasions. Her attitude towards Agamemnon is vague, because she bemoans his death the same way Helen, whom she hates, mourns Hector’s death. Only the Greek Troades provides an opinion on the beauty of the prophetess. Afterall, Helenand Cassandra’s fatesare mysteriously intertwined. We have the right to suppose that Clytaemestra’s calling Cassandraa female swan is not accidental, although it formally seems to refer to her stage “muteness”.

3

Prometejskie zmagania

100%

Bibik B.

Przekłady Literatur Słowiańskich

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2023

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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.

4

Rozkosz Klitajmestry

100%

Bibik B.

Meander

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2022

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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.

5

Norwidowska reinterpretacja mitu prometejskiego

63%

Kołbukowski M.

Studia Norwidiana

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2015

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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.

6

Norwidowska reinterpretacja mitu prometejskiego

63%

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.