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    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:
    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
    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:
    Widownia antycznego teatru greckiego
    The Auditorium and the Audience of the Greek Ancient Theatre
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1954797.pdf
    Data publikacji:
    2001
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    teatr
    Grecja
    widownia
    dramat grecki
    theatre
    Greek drama
    auditorium
    audience
    Greece
    Opis:
    The author deals with the auditorium of the Greek theatre in a twofold meaning: as a part of the stage building and as its audience who took seats in the theatre during performances. The first part of the paper depicts the following issues from the historical point of view: the auditorium of the Greek theatre as instanced by the most characteristic remnants of the ancient theatrical buildings, that is the size of the audience, its division into blocks of seats, benches for the audience, seats and seats of honour. The second part deals with the theatrical audience: their number, their social composition, their behaviour during performances, relations between the stage and the audience. The latter aspect is more particularly exposed in the paper; the close relations between the spectators and actors have been discussed on the example of the texts of dramas (tragedy and ancient comedy) that have been preserved until now. As far as other particular issues are concerned, one should stress that the author is in favour of women in the theatre both during agons (dramatic contests) of tragedies, and in comedies, disputing in this matter with the opposite view presented by S. Goldhill (of 1997).
    Źródło:
    Roczniki Humanistyczne; 2001, 49, 3; 61-93
    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:
    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:
    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:
    Sytuacja społeczno-ekonomiczna aktorów w starożytnej Grecji
    The Socio-Economic Situation of the Actors in Ancient Greece
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1957160.pdf
    Data publikacji:
    1998
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    On the basis source materials and the studies, the author, and it is the first time in the Polish language, depicts more extensively the various aspects of the socio-economic situation in the actors of ancient Greece. He proves that their circumstances were different than in the Roman times, or over long centuries and in modern and medieval Europe until the twentieth century, in which time they were rather despised. The actors (protagonists) in Greece had always been rated highly in social hierarchy, enjoyed respect and received wide recognition. The most prominent of them made an international name for themselves and made great fortunes. Establishing trade unions, they not only could successfully defend their own group interests, but also secured for themselves various privileges, and to a great extent influenced the development of literature and stage art. They also influenced on politics, fulfilling diplomatic functions, on occasions becoming friends of the Macedonian rulers, and later their successors in the Hellenistic epoch. Such characteristics of their lives as stardom, huge income, moral scandals and membership of the upper calsses remind us of the present times.
    Źródło:
    Roczniki Humanistyczne; 1998, 46, 3; 31-42
    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:
    Życie Sofoklesa. Wstęp − Przekład − Komentarz
    Vita Sophoclis. Introductio − Translatio − Commentum
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1964032.pdf
    Data publikacji:
    1995
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Commentarii de vita et scriptis trium principum tragicorum, Aeschyli, Sophoclis Euripidisque, ab antiquis auctoribus libris non paucis expositi mature neglecti omnes perierunt. Ex his rei scaenicae et historiae Graecorum litterariae scriptoribus breviora, quae grammatici composuerant, viri docti, qui medii aevi temporibus in litteris versabantur, acceperunt et eis usi excerpta suffecerunt. Haec excerpta per codices propagata, etiam si non tales omni ex ad nos pervenerint quales eorum auctores reliquerant, tamen ea aetate sunt compositae, qua satis ampla antiquiorum fontium copia superessent. Vita Sophoclis in multis poetae manuscriptis tradita, quae in hoc nostro articulo in linguam Polonam transfertur, commentatur brevique introductione illustratur, est etiam ex eo genere excerptorum. Quamquam non dubitandum esse videtur, quin eius auctor fontibus qui ab grammaticis Alexandrinis sunt profecti usus sit, tamen huic non obstat, quod Vita Sophoclis falsa et commenticia non pauca continet. Quam ob rem in commento nostro quae explorata testium fide certo aut probabiliter dici posse vedeantur ab falsis et ex nihilo fictis, quantum fieri poterit, segregamus.
    Źródło:
    Roczniki Humanistyczne; 1995, 43, 3; 5-23
    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:
    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:
    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:
    Poetyka Arystotelesa a współczesne teorie dramatu
    Aristotle’s Poetics versus Modern Theories of Drama
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1944397.pdf
    Data publikacji:
    2009
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Arystoteles
    Poetyka
    opsis
    współczesne teorie dramatu
    Aristotle
    Poetics
    modern theories of drama
    Opis:
    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 that is for the Stagirite, if we rely on our modern terms, only a literary work. Then 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. All the time then he treats tragedy not as a text, but as a theatrical work in which mimesis can be conducting 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; 2009, 57, 3; 29-39
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ród i życie Eurypidesa. Wstęp – przekład – komentarz
    Vita Euripidis. Introductio – translatio – commentum
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/1944398.pdf
    Data publikacji:
    2009
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    literatura grecka
    Eurypides
    Vita Euripidis
    Greek literature
    Euripides
    Opis:
    Vita Euripidis in variis codicibus tradita in hoc articulo transfertur, commentatur brevique introductione illustratur. Haec prima in linguam Polonam translatio textu contento in quinto volumine libri, qui Tragicorum Graecorum Fragmenta inscribitur, a Richardo Kannicht editi, nititur. Commentum ad res personasque in Vita commemoratas attinet atque eius errores corrigit.
    Źródło:
    Roczniki Humanistyczne; 2009, 57, 3; 5-27
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przywołanie przestrzeni w Bachantkach Eurypidesa
    Spatial Approach in the Bacchae of Euripides
    Autorzy:
    Chodkowski, Robert R.
    Powiązania:
    https://bibliotekanauki.pl/articles/2127711.pdf
    Data publikacji:
    2007
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Eurypides
    Bachantki
    tragedia grecka
    przestrzeń przywołana
    Euripides
    the Bacchae
    Greek tragedy
    spatial approach
    Opis:
    The presented world in the Bacchae of Euripides is extremely rich and extended, therefore it calls for a broader space than the place of action itself, understood as a space available for the recipients of this play in visual perception. The scenic action of the Bacchae takes place in front of the royal palace, but this is not the only place of dramatic events. The theme of the tragedy is not only the history of Pentheus, but also the dissemination of the cult of Dionysus as a universal religion. Accordingly, the places of the cult in Greece and Asia Minor, above all the mountains of Cithaeron, are constantly brought to mind. In those places the Thebanese Bacchantes worship this god with singing and dancing. The poet transfers also the tragic ending of the action to the mountains of Cithaeron: Pentheus’ torn apart by his mother and the attendant Thebanese women. The author describes the character of the space referred to in the Bacchae, showing the way of its presentation on the stage, and describes its functions in the text.
    Źródło:
    Roczniki Humanistyczne; 2007, 54-55, 3; 55-63
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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