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    Wyświetlanie 1-8 z 8
    Tytuł:
    Przypomnienie wybitnej łacinniczki gimnazjalnej i pewnego szkolnego przedstawienia Antygony
    Autorzy:
    Starnawski, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/702798.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Opis:
    Doctor Regina Schächter was a classical philologist and high school teacher in Stanisławów (today’s Ivanofrankivsk) and Brzeżany. We cite here a press review of the performance of Antigone presented by her pupils in Stanisławów in September 1928.
    Źródło:
    Meander; 2013, 68
    0025-6285
    Pojawia się w:
    Meander
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    NIEobecna. NIEmądra. NIEświadoma. Figura Antygony jugosłowiańskiej w dramatach Dominika Smolego, Miro Gavrana i Dušana Jovanovicia
    Autorzy:
    Kubik, Damian
    Powiązania:
    https://bibliotekanauki.pl/articles/638617.pdf
    Data publikacji:
    2008
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Opis:
    The article analyses three selected plays of D. Smole, M. Gavran and D. Jovanović – dramatistsfrom former Yugoslavia who tried to actualize Sophocles’ tragedy Antigone. Beginningfrom opinion H.D.F. Kitto who proposed to treat that drama as the interpersonal tragedy, themost important in the article became problems discussing: Antigone during the war and conflictbetween Antigone and Creon as the break of the community. All these problems refer tocontemporary of each dramatists. The conclusion is confirmation that the figure of Antigonehelps autors to talk about the reality of Yugoslavia in the second half of 20th century.
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2008, 3, 1
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Motywacja czynu Antygony w tragedii Sofoklesa
    Motivation of Antigone’s Deed in Sophocles’ Tragedy
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1964850.pdf
    Data publikacji:
    1988
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Presenting Antigone’s motivation while performing her act in religious aspect, as it is advocated in most modern studies, and considering thus her attitude as acting in defense of divine rights and willing to have Polynices’ should achieve the ᾽eternal rest᾿ seems inconsistent with the text of the play and the times when Sophocles wrote. Although his character shows herself pious and faithful to divine and customary rights, religious virtues are important to her not as a drive making her perform the deed or her goal, but merely as justification of her behavior. While thinking over the causes of Antigone’s deed, we should ask why she had determined to bury her brother in a given dramatic situation, and not just simply why se buried him. Normally speaking, had Creon’s interdiction not existed, her deed would have been driven by the very wish to fulfill the duty resulting from divine and customary rights. Meanwhile in Sophocles’ play Antigone’s behavior is the response to Creon’s ban on burying her brother. Hence asking for motives that had made her perform this act, we wonder why she buries her brother despite the ban in force. Therefore her attitude is a response to the king’s ban and ought to have been analyzed as such. Since the king aimed at bringing dishonor upon Polynices’ body (not at violating divine rights), Antigone was firmly wishing to save his brother from this disgrace. Hence the object of her dispute with Creon is not the superiority of divine rights over the statutory ones (the king approved of those last, too), but the honor of Polynices, his τιμή. Antigone acts thus not in defense of the divine right, but in defense of her brother’s honor and hers. She has qualified the ban on burying her brother to be one more ring in the chain of dishonor and disgrace in her family, and undertakes not only to protect her brother from disgrace by performing her act, but also to win fame at the same time. This is a knightly behavior reminding that of Achilles in the 18th Book of Illiad. Antigone preferred beautiful death (καλῶς θανεῖν) and glory to live like Achilles. This organic combination of deed, honor and glory is typically a Greek one, since - as Aristotle will have put it later - ᾽honor is sign of glory which is to take the other’s good into account’. Antigone achieves such a kind of εὐεργετικὴν δόξαν both in her own opinion and in that of the other characters of the play: Haimon, Teban people, or even the chorus itself. These two motives, honor and fame, are firmly connected to love of her brother, love meaning a closer tie owing a common descent from the same parents, and thus ϕιλία ἀδελϕική in Aristotelian sense. Sister’s love conceived this way compels Antigone to devote her life entirely for Polynices. Her love (φιλία) appeared not only in the words she has uttered, but also in her deeds performed in favor of others. Considering the noble descent brings on another important motive, also originating from Greek knightly ethos. This ‘εὐγένεια’ was also understood in a typically Greek (and Aristotelian) manner as the duty to behave nobly towards relatives, that of φίλοι and faithfulness to natural ties. All these themes, isolated as separate elements for the sake of analysis, are closely united and penetrating ones another in Sophocles’ play, because they originated from the knightly ethos, compelling to show noble descent, honor, glory, faithfulness to a friend, even at the cost of life. Beautiful death (καλῶς θανεῖν has become the very ideal and the best end of life. Antigone’s behavior conceived this way has restored to Sophoclean hero the Greek feature, altered by its modern interpretations which laid all their emphasis on religious motivations of the deed performed by Œdipus’ daughter. Meanwhile Antigone breaks Creon’s ban not to defend divine rights, but to honor her brother with burial and to win fame; if she has to refer to divine rights, its is only to prove her act not to be a profane one, despite of having flouted the king’s law.
    Źródło:
    Roczniki Humanistyczne; 1988, 36, 3; 75-88
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Reminiscencje ajschylejskie w parodosie Antygony Sofoklesa
    Aeschylean Reminiscences in the Parodos of Sophocles’ Antigone
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1954286.pdf
    Data publikacji:
    2003
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    literatura
    teatr
    tragedia grecka
    chór
    parodos
    literature
    theatre
    Greek tragedy
    chorus
    Opis:
    The paper discusses some similarities between Aeschylus and the parodos of Sophocles’ Antigone. The chorus in the Antigone is a group of royal counsellors whose social status reminds us of the choruses of Persians and Aeschylus’ Agamemnon. As such, it plays similar functions: it is dramatic and plays the role of a commentary. Like the choruses in Aeschylus, in which the old tragedian penetrates into the past following the principle of retrospection, Sophocles in the introductory part of his chorus also refers to a scene of the event from pre-action (Vorgeschichte) and submits it to a commentary in lyrical and reflective manifestations. Introducing narrative elements into the song of parodos, Sophocles – following Aeschylus – does not make his chorus relate the events in a chronological order, but uses “the technique of editing”. He cuts them into certain units and remodels them in time in order to submit them to poetization or reflection, or to expose them as meaningful for the further course of action. In the final part of the paper, the author discusses Aeschylean reminiscences which he noticed in the linguistic layer of the parodos.
    Źródło:
    Roczniki Humanistyczne; 2003, 51, 3; 19-28
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Żądanie Antygony. Normy i nienormatywny model rodziny Judith Butler
    Antigona’s Claim. Norm and non-normative model of the Judith Butler family
    Autorzy:
    Lubowicka, Grażyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2127396.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Wrocławski. Wydział Nauk Historycznych i Pedagogicznych. Instytut Pedagogiki. Zakład Historii Edukacji
    Tematy:
    rodzina
    Antygona
    performatywność
    norma kulturowa
    Antigone family
    norm
    performativity
    Opis:
    Cel. Problem zdekomponowanej i zróżnicowanej rodziny w ponowoczesności, czy też rodziny poddanej deformacjom i przemieszczeniom, oraz pytanie o to, ku jakiemu modelowi (modelom) może ona zmierzać, stawia Judith Butler w Żądaniu Antygony. Metoda. Interpretacja książki Żądanie Antygony J. Butler w kontekście teorii performatywności. Wyniki i wnioski. Tradycyjny model rodziny oparty na prymacie heteroseksualnej matrycy rodziny i seksualności zostaje przez Butler zdekonstruowany przez demaskację podstawowego dla kultury zakazu homoseksualności, oraz oparty na założeniu, że więzy międzyludzkie są generowane w historycznej przestrzeni społecznej. Butler proponuje nową ontologię pokrewieństwa.
    Aim. The problem of a decomposed and diverse family in postmodernity or a family subjected to deformations and displacements, and the question about which model(s) it may be heading, is presented by Judith Butler in Antigone’s Demand. Methods. Interpretation of the book Antigona’s Claim, by Judith Butler. Results. The traditional family model based on the primacy of the heterosexual matrix of family and sexuality is deconstructed by Butler by unmasking the basic prohibition of homosexuality for culture and based on the assumption that interpersonal bonds are generated in a historical social space. Butler proposes a new relationship ontology in which human lust is not governed by the imperative of heterosexuality.
    Źródło:
    Wychowanie w Rodzinie; 2019, XXI, (2/2019); 373-383
    2082-9019
    Pojawia się w:
    Wychowanie w Rodzinie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Współczesne pytania Antygony. O wolności wyborów, o źródłach prawa i uzasadnieniu moralnej słuszności czynów
    Antigone’s contemporary questions about freedom of choices, sources of law and justifications of moral rightness of deeds
    Autorzy:
    Lewandowicz, Janusz
    Powiązania:
    https://bibliotekanauki.pl/articles/502555.pdf
    Data publikacji:
    2015
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    topos Antygony
    źródło prawa
    źródło powinności
    prawo państwa
    prawo stanowione
    prawo boskie
    prawo jednostki
    pozytywizm prawny
    godność człowieka
    miłość,
    śmierć
    norma
    sumienie
    sprawiedliwość
    tradycja
    natura
    autonomia jednostki
    autonomia prawa
    autonomia rzeczy doczesnych
    norma moralna
    nómos (νόμος)
    Antigone’s topos
    sources of the law
    source of obligation
    state law
    codified law
    divine law
    natural right
    legal positivism
    human dignity
    love
    death
    norm
    conscience
    justice
    tradition
    nature
    one’s autonomy
    legal autonomy
    autonomy of the temporal, moral norm, nómos (νόμος)
    Opis:
    The author presents considerations concerning morality criteria based on cultural and philosophical prepositions. Contemporary issues, in particular bioethical ones, make us pose the questions about the hierarchy of norms and, thus, the hierarchy of activities. This automatically leads to the question about the source (or sources) of law. The basis for these considerations is Antigone by Sophocles as a masterpiece with universal message. From the text analysis one can discover the issue of tradition and its role in social life principles determination. This leads to the question about the sources of law – are they transcendental or immanent? The author points out that Antigone uses the word „law” – „νόμος”, „νόμιμα” – only in relation to the divine laws. Creon’s regulations which oppose them are described as „φρόνημα”– inventions. In this way she acknowledges the supreme character of the transcendental norm. Rejection of the reference to the transcendental leads to „absolute contradiction” in the area of prepositions and attainments of legal objectives. This notion („absolute contradiction”) was used by Joseph Ratzinger in Benedict’s Europe in the cultures crisis. It can be said that this contradiction in the modern age comes from different ways of understanding the relationship between the transcendence and science, and, consequently, law by Galileo. Therefore, the premise of absolute autonomy creates „absolute contradiction”. The attempt to overcome this obstacle is respect for the so called „immanent transcendence”, which is expressed in the natural law. However, one must first acknowledge the existence of the objective truth and the possibility of knowing it and the norm which assesses the consistency of one’s action with those reference points. This norm is one’s conscience which has its autonomy in relation to legal norms that are not based on the natural law. Without that acknowledgement the only justification of law would be mere force. In our cultural situation Antigone’s question about the sources of law and its validity as well as how to save human dignity and love remains still pending.
    Źródło:
    Łódzkie Studia Teologiczne; 2015, 24, 1; 23-42
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O kwestii oryginału, przekładu autorskiego i adaptacji. Wokół polskiej i angielskiej wersji Antygony w Nowym Jorku Janusza Głowackiego
    On the original, the self-translation and the adaptation. Considerations about the Polish and the English Version of Janusz Głowacki’s Antigone in New York
    Autorzy:
    Amenta, Alessandro
    Powiązania:
    https://bibliotekanauki.pl/articles/1040783.pdf
    Data publikacji:
    2020-10-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    self-translation
    adaptation
    Janusz Głowacki
    Antigone in New York
    Opis:
    Janusz Głowacki’s internationally acclaimed tragicomedy inspired by Sophocles’ Antigone has been the subject of intense debate and misinterpretations. The article aims to demonstrate that the play was primarily written in Polish, and that the English version is an adaptation/rewriting made by the author in collaboration with the American screenwriter Joan Torres. Furthermore, it shows that the English version was created while the writing of the Polish text was still in progress, so that the former influenced and left clear traces in the latter, questioning the traditional hierarchy between the original and the translated or adapted text.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2020, 38; 225-250
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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