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Wyświetlanie 1-15 z 31
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
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:
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:
Aristotle’s Poetics versus Modern Theories of Drama
Autorzy:
Chodkowski, Robert R.
Powiązania:
https://bibliotekanauki.pl/articles/1806890.pdf
Data publikacji:
2019-10-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Aristotle; Poetics; opsis; modern theories of drama
Opis:
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 57 (2009), issue 3. This paper seeks to prove that there are no grounds in the Poetics to ascribe to Aristotle the views identified with the literary theory of drama because he does not identify drama with a verbal work. On the contrary, the spectacular dimension of tragedy is for Aristotle one of the distinctive feature of tragedy vis-à-vis epos, which for him is only – to use our modern terms—a literary work. Thus, the visual element (ὄψις or ὄψεως κόσμος) is not only very important for Aristotle, but it is even a necessary component of tragedy. Indeed there are some remarks in the Poetics that suggest tragedy may exist without ὄψις, but this is only regarded as a hypothetical situation, analogical to the one when he argues that tragedy may exist without characters. In fact, however, both ὄψις and characters are regarded by Aristotle as necessary components of tragedy. He makes his considerations assuming both components. At the same time, he treats tragedy not as a text but a theatrical work in which mimesis can be conducted by the “acting persons” (πράττοντες). They are understood not as literary figures, but as stage embodiments of the heroes whose psychophysical ontic paradigms are actors.
Źródło:
Roczniki Humanistyczne; 2018, 66, 3 Selected Papers in English; 25-35
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia przekazu i krytyki tekstów Ajschylosa
History of Transmission and Criticism of Aeschylus Texts
Autorzy:
Chodkowski, Robert R.
Powiązania:
https://bibliotekanauki.pl/articles/1964454.pdf
Data publikacji:
1994
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The subject of the article is ”a short history of transmission and criticism of Aeschylus' texts” including the work on the text conducted by the ancient − Alexandrian − grammarians and philologists in the Augustan Age and in the period of the Roman empire, as well as that done in the Middle Ages and later − till modern times, with special attention paid to the recent editions of the text of Aeschylus' plays − critical ones supplied with commentaries. The author presents a review of editions of Aeschylus' works. To do this he avails himself of the abundant literature on the subject, he quotes information on ancient authors (among others Quintilian and Plutarch); he also mentions the fact that there are short quotations from Aeschylus in the works by Clement of Alexandria − a Christian writer living in the 2nd and 3rd centuries A. D. The article points to the reverence which has surrounded Aeschylus during the ages of studies of the text of his plays up to modern times and it fills the gap in the Polish language caused by lack of this kind of work. Since the edition of Tragedia grecka (”The Greek Tragedy”) by S. Witkowski in Lvov in 1930 with only a short history of Aeschylus' text and its most important editions there has not been such a work. The aim of the article is to honour the 500th anniversary of the criticism of Aeschylus' texts started by M. Suliardus, which anniversary falls on 1995.
Źródło:
Roczniki Humanistyczne; 1994, 42, 3; 5-16
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jerzy Axer, Teksty tragików greckich jako scenariusze, [w:] Literatura Grecji starożytnej, red. H. Podbielski, t. 1: Epika, liryka, dramat
Autorzy:
Chodkowski, Robert R.
Powiązania:
https://bibliotekanauki.pl/articles/1945181.pdf
Data publikacji:
2008
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Źródło:
Roczniki Humanistyczne; 2008, 56, 3; 111-125
0035-7707
Pojawia się w:
Roczniki Humanistyczne
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:
Mowa gońca w Hekabie Eurypidesa (518-582)
The Messenger's Speech in Euripides' Hecuba (518-582)
Autorzy:
Chodkowski, Robert R.
Powiązania:
https://bibliotekanauki.pl/articles/1963574.pdf
Data publikacji:
1996
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The author carries out a literary analysis of the messenger's speech in Hecuba and seeks to grasp its function in this drama. Therefore he presents the narrative situation of the speech, its character of a report and information, but also interpretation and evaluation. He pinpoints that the role of a messenger in this tragedy is fulfilled by the non-anonymous narrator, yet one of the figures actively involved in the action of the play. It is Talthybius, a man marked with great character, who is able not only to relate the event which has taken place beyond the stage space, but also he may give the event a proper dimension. It is through him that Euripides conveys his audience a lesson that in extreme situations one may preserve human dignity, respect for oneself, or even gain recognition from his enemies. Talthybius' report goes beyond the customary function of the messenger speeches, whose main aim to bring to the stage some events from a remote space. In its interpretative and evaluative structure Talthybius' speech confers a deeper sense of a universal character on the event which is being related. In this function it reminds us the choral chants from Aeschylus' tragedies.
Źródło:
Roczniki Humanistyczne; 1996, 44, 3; 71-79
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pierwsza relacja sportowa? (Sofokles, Elektra, w. 680-763)
The First Sports Coverage? (Sophocles, Electra, vv. 680-763)
Autorzy:
Chodkowski, Robert R.
Powiązania:
https://bibliotekanauki.pl/articles/1953799.pdf
Data publikacji:
2005
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Sofokles
tragedia
sport
sprawozdanie sportowe
wyścigi rydwanów
Sophocles
tragedy
sports
sports coverage
chariot races
Opis:
The author focuses on Educator’s story about the alleged death of Orestes that is found in the very center of Sophocles’ Electra, vv. 680-762). However, this story is interesting for him not as an integral part of the tragedy but as a kind of sports report of a chariot race. He argues that although the report is not a real coverage of a sports event, we can perceive a kind of prototype for such a report that may be based on a real event, as it contains several elements that we expect from such a report. It brilliantly depicts the atmosphere of sports competitions, the tension prevailing among the competitors, and it shows the changing moods of the spectators present on the hippodrome. Sophocles’ commentator is an expert in the discipline he is talking about, he knows the competitors, their origin, as well as the advantages of particular teams. He can guess the charioteers’ tactical plans and intentions, he knows about how a chariot should be driven, he can transmit a competitor’s joy at his success and the tragedy of his defeat. He does not dazzle the readers with too many details, but he rather refers to their knowledge and experience, leaving a lot of space to their creative imagination. All in all we get a report that maintains a high standard and is brilliantly composed and dramatized and that keeps the readers in suspense, first awakening interest in him, and then evoking strong emotions; it can keep the atmosphere that is created in this way till the very end. The multitude of artistic means that are employed here is subjected to these ends. The Introduction shows earlier attempts at describing sporting events that are found in Homer’s works and in lyrical poets, with particular stress on Pindar’s poems.
Źródło:
Roczniki Humanistyczne; 2005, 53, 3; 39-60
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 31

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