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    Wyświetlanie 1-8 z 8
    Tytuł:
    Życie Ajschylosa. Wstęp − Przekład – Komentarz
    Vita Aeschyli. Introductio − Translatio – Commentum
    Autorzy:
    Chodkowski, Robert Roman
    Powiązania:
    https://bibliotekanauki.pl/articles/1964505.pdf
    Data publikacji:
    1993
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Vita Aeschyli, in multis manuscriptis poetae tradita, transfertur, commentatur brevique introductione illustratur. Heac prima in linguam Polonam translatio textu a Stephano Radtio in libro qui Tragicorum Graecorum Fragmenta inscribitur edito, nititur. Introductio narrat quo tempore Vita composita fuerit et quibus ex fontibus auctor eius exhauserit. Commentum ad res et personas in Vita commemoratas attinet atque eius errores coriigit.
    Źródło:
    Roczniki Humanistyczne; 1993, 41, 3; 57-67
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tragedia Ajschylosa jako widowisko teatralne
    Aeschylus’ Tragedy as a Theatrical Performance
    Autorzy:
    Chodkowski, Robert Roman
    Powiązania:
    https://bibliotekanauki.pl/articles/2119782.pdf
    Data publikacji:
    1992
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    In the initial section of the article the author justifies the view that it is bout useful and necessary to apply the theatrical theory of drama to the study of ancient Greek tragedy. Analyzing Aristotle’s Poetics he first shows that while the Philosopher says several times that tragedy can achieve its effect even without stage production (ὄψις), in his many observations on tragedy he envisages it as a theatrical performance and in fact takes the performance aspect of drama as its organic part. As the author argues next, tragedy originated as a performance; this concerns the genre as a whole as well as individual plays. As a genre it enriched poetry by contributing visual and accustic aspects, a fact also recognized by Aristotle. The Greek playwright made his plays for the stage and the spectator, not for the reader. Since in Aeschylus’ days the dramatic poet was also a director and an actor, every word in his plays was both literature and theatre. In the second section of the article the author uses examples selected from Aeschylus’ extant plays to demonstrate how closely interwoven the poet’s word and stage image are and how they work together in the creation of the represented world. The word does not lose its poetic force in the process; it is not merely a score as has sometimes been said, but − supported by visual images − it is the more effective in stirring the viewer’s imagination.
    Źródło:
    Roczniki Humanistyczne; 1992, 39-40, 3; 5-17
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Inaczej o Antygonie Sofoklesa
    Autorzy:
    Chodkowski, Robert Roman
    Powiązania:
    https://bibliotekanauki.pl/articles/1965128.pdf
    Data publikacji:
    1987
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Roczniki Humanistyczne; 1987, 35, 3; 37-57
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nieobecność Atossy w kommosie Persów Ajschylosa
    The Absence of Atossa in the Final Scene of The Persians
    Autorzy:
    Chodkowski, Robert Roman
    Powiązania:
    https://bibliotekanauki.pl/articles/1964507.pdf
    Data publikacji:
    1993
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The problem of the absence of Atossa in the final scene of The Persians has long been discussed. The author of the paper, however, puts forward yet a new approach. Instead of posing a traditional question, namely, why she is not there, he puts it in a different manner, i.e. could she after all meet her son on the stage or beyond it? He gives a negative answer to that. If Atossa had met Xerxes beyond the stage and there had given him a new garment, then in front of the spectator there would not have stood a man struck by disaster but a Persian king, such as Darius, who was the symbol of success and well-being. In that case the dramatic force of that kommos would have been totally destroyed. Atossa could not meet her son on the stage, either. The king could not have changed his torn garments in full view of the audience. It would also be difficult to imagine a situation in which he himself, in accordance with the text, would have lamented over his rags, while the maids would have been holding new garments. Anyway, one may take into account only these two possibilities. In none of them, however, would Atossa have achieved her purpose which was to protect her son from the shame of being seen by the subjects (the Chorus), since Xerxes would have entered the stage in rags. If, however, Atossa in no case could meet her son, why does Aeschylus foretell such a possibility in the play? The queen expresses her willingness to go and meet her son in order to give him a new garment but her words should not be taken as a prediction of something which is indeed going to take place. They should rather be understood as an expression of the mother’s attitude. When Atossa got to know that her son was coming back in rags she, as a loving mother, could not do anything but to express her desire to give him new garments in order to save him from shame. The poet, however, could not permit such an encounter, and that encounter does not take place in the play. The spectator can only guess that some unpredictable obstacle has taken place. The researcher of Aeschylus, however, must be aware that in tragedy as a theatrical work such an encounter was impossible for the benefit of the work.
    Źródło:
    Roczniki Humanistyczne; 1993, 41, 3; 47-55
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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