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    Tytuł:
    Ateńskie procesy o bezbożność do 399 r. p.n.e. – próba analizy
    Autorzy:
    Filonik, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/702597.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Opis:
    The present discussion aims to analyse references concerning Athenian impiety trials in the fifth century BCE up to the well-attested trial of Socrates in 399 BCE. First, it argues that some of the trials must have then been an invention of Hellenistic and later biographers. Second, it analyses the socio-political context of those trials which can be deemed historical. Third, it discusses in detail legal issues connected with such accusations. Overall, it seeks to provide a brief but possibly comprehensive study of Athenian impiety trials in the fifth century BCE, with an article on later trials to follow in one of the next issues of the journal.
    Źródło:
    Meander; 2014, 69; 65-108
    0025-6285
    Pojawia się w:
    Meander
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bunt i buntownicy w tragedii greckiej
    Autorzy:
    Filonik, Jakub
    Powiązania:
    https://bibliotekanauki.pl/books/1788258.epub
    https://bibliotekanauki.pl/books/1788258.mobi
    https://bibliotekanauki.pl/books/1788258.pdf
    https://bibliotekanauki.pl/books/1788258.zip
    Data publikacji:
    2012
    Wydawca:
    Wydawnictwo Naukowe Sub Lupa
    Opis:
    Streszczenie Zagadnienie buntu w tragedii greckiej było rozpatrywane przez licznych badaczy przy okazji analizy rozmaitych tematów. Nie poświęcono mu jednak osobnej uwagi w wystarczającym zakresie, nie zawsze też używano w istniejących opracowaniach terminu „bunt”. Powyższa praca jest próbą uzupełnienia tej luki we współczesnej filologii klasycznej. Autor pracy analizuje w zachowanych tragediach greckich postawy bohaterów, którzy według przyjętej definicji mogą być nazywani buntownikami, a także tych, którym się sprzeciwiają, oraz postaci, które są z nimi w tych sztukach zestawione na zasadzie kontrastu. Poddaje analizie treść tragedii, ze szczególnym uwzględnieniem interakcji osób w nich się pojawiających, a także leksykę z tymi pojęciami i postawami związaną. Autor rozwija też spostrzeżenie sformułowane w dotychczasowych publikacjach, mówiące, że w wielu tragediach jedna lub więcej z głównych postaci decyduje się na radykalny sprzeciw w stosunku do występującego w sztuce autorytetu. Jako najbardziej wyraziste przykłady buntu przedstawiono w pracy Prometeusza w okowach Ajschylosa i Antygonę Sofoklesa, w których bohaterowie przeciwstawiają się władzy tyranów w imię wartości, w które wierzą. Autor pokazuje również podobieństwa pomiędzy tragediami ukazującymi buntowników, zarówno w sferze leksykalnej, jak i w strukturze opisywanych tragedii. Najważniejszy wniosek sformułowany na podstawie przedstawionej argumentacji to stwierdzenie, że bunt był przesłaniem ideowym i elementem strukturalnym niektórych tragedii, świadomie podkreślanym przez ich autorów. Ponadto, autor zauważa, że przedstawiając na scenie postacie buntowników tragediopisarze odnosili się do historycznych przykładów tyranii i buntu oraz związanego z nimi ateńskiego etosu walki z tyranią, niekiedy także do samych „tyranobójców”, Harmodiosa i Arystogejtona. Summary The issue of rebellion in Greek Tragedy has been investigated by numerous scholars in their analyses of various topics. However, it has not been given full attention and the term “rebellion” has not been used in all of these studies. This thesis attempts to compensate for this deficiency in the contemporary Classical studies. The author, inspired by ‘The Rebel’ by Albert Camus, seeks to analyse the attitudes of the heroes of the surviving tragedies who may be classified as rebels according to the definition given. He also notices the existence of the term stasis, but nonetheless mainly endeavours to describe the characters of the rebels themselves, the attitude of those whom they oppose, and the characters introduced in these plays in contrast to them. Furthermore, he analyses the content of the plays, paying particular attention to the interactions between the characters involved, as well as to the vocabulary related to these notions and attitudes, focusing on rebellion and its opposite, which he argues to be assent or obedience. In addition, the author develops the opinion expressed by other investigators arguing that in many tragedies one or more of the main characters defy the authority appearing in the play. Prometheus Bound by Aeschylus and Antigone by Sophocles are provided as examples of the most significant acts of rebellion, displayed by their characters when they defy the power of tyrants in the name of their beliefs. The author also tries to describe several major characters from Euripidean plays, though the main focus is on Heracles as the rebel and saviour, and on the problem of interpreting the Bacchae. Some minor acts of defiance in other plays are also pointed out, with reference to the tragedies mentioned. Referring indirectly to a long-lasting discussion concerning the authorship of the Prometheus Bound, the author acknowledges within this work the traditional Aeschylean authorship of the play. He stresses the difference between the Hesiodian Prometheus, a trickster and the thief of the heavenly fire, and the Aeschylean Titan, a philanthropos who guides the mankind from the state of unconsciousness to self-awareness and civilized life, in which he opposes Zeus, the tyrannos of Olympos. The god is called tyrannos and a harsh (trachys), new ruler more than several times in the play, even by his obedient servants. Prometheus’ defiance against the tyranny of Zeus is his essential characteristic, which makes him a fierce rebel, very likely in accordance with the Athenian ethos of defying Persian monarchy and, earlier, the native tyranny of Hippias and Hipparchus. The author further seeks to compare the terms depicting rebels and those whom they oppose, both in tragedy and in other contemporary literature, mainly Aristotle’s Politics (1314a1-io) and Herodotus’ Histories (1.119, 3.86, 7.386, 8.118). Titan’s reluctance is constantly being emphasised, especially in juxtaposition with Zeus’ servants who try to humiliate and humble him both by threats and persuasion. Finally, the author brings up the problem of the lost trilogy and tries to reconstruct the Prometheia and the theme of reconciliation of the antagonists, following the existing studies and surviving fragments of the plays. The author then discusses the works of Sophocles and his main rebel, Antigone. First the structure and the opening scenes of the Antigone are described. The main character is explicitly contrasted throughout the play with her sister, Ismene, and an opposition between “rationality” and “madness” is being continually stressed. Antigone is unwavering and proud in her defiance against Creon, just as Prometheus in his rebellion. As to the tyrant himself, his character raises the issues of authority, obedience and justice in the play. Some attention is also given to his conflicts with Antigone, Haemon and Tiresias and the evolution of the chorus in accordance with the divine signs. In the analysis of the vocabulary in the Antigone, the role of the terms signifying disobedience (apistein) and obedience (peithesthai) in particular is emphasised. The author then compares the characters of Electra and Chrysothemis in the Electra with Antigone and Ismene in the Antigone, examining the structure of the dialogues between them and the terms involved. After mentioning some other plays involveing similar issues, especially Philoctetes, the effort to describe Sophocles’ world of ideas ends with depicting Oedipus in Colonus as he departs from life in tranquility and full assent. Furthermore, the author presents some similarities between the tragedies which introduce the two major rebels, both in the vocabulary and the structure of these plays. Both the obstinate characters of protagonists in the Prometheus Bound of Aeschylus and the Antigone of Sophocles, the vocabulary used to describe them and terms put in their own mouths to reveal their defiance against the tyrants, are being examined. The sheer structure of the plays (scene-building, the content of dialogues and monologues) and the theories about the influence of one upon the other have also been mentioned. The author has also noticed the lack of heroic individuals as well as plays presenting only one main hero in Euripidean drama (despite Hercules Furens), thus the lack of one predominant rebel acting by himself. As Heracles has been singled out from other tragic personae, a comparison with Prometheus has been made and his attitude towards fate, Hera and suicide has been extensively discussed. The presence of Bellerophon in surviving Euripidean fragments has been noticed in relation to his rebellion against Olympic gods, both in speech and action. The character of Pentheus in the Bacchae and his questionable role as theomachos has been brought to attention, as well as numerous minor characters in various plays who speak up their mind in a very independent manner. This has brought the author to the problem of freedom as such, even considered only as an immanent state, and its connection with defiance, as he argues that the characters displaying a sense of freedom were presented in a manner which was meant to emphasise their defiance and glorify it, as Gregory points out in her articles. The role of slaves in Euripidean drama has also been asserted in this chapter, along with the existence of „noble slaves” showing free spirit. The elderly in his plays are mainly obedient, scared and grotesque, like old Cadmus and Tiresias in the Bacchae, while the young are idealistic, stubborn and courageous, like Antigone, Haemon, Iphigenia or Menoeceus. The author concludes with some remarks concerning various attitudes of mainly hesitant Eurpidean characters towards the order of the world or its absence, as well as divine (in)justice and power. The terms used in Greek Tragedy by rebels and those describing them rarely state their defiance explicitly. More often epithets such as tyrannos and tyrannis are used as an insult towards the oppressive rulers whom they describe, accompanied by vocabulary related to submission and disobedience. The rebels themselves express their attitude in their own words “in vain you trouble me” (PV 1001) or brief “leave me alone”, “let it go”, eason (PV 332 et al.) should suffice most of the time. Each time someone tries to persuade them to kneel and be more humble, they consistently and bravely resist and do not retreat even if sufferings follow their obstinacy (PV 966 sq., Ant. 443). The main conclusion of this thesis is the statement that, following the arguments given, the rebellion was an important message and structural element of some of the surviving tragedies, which was intentionally emphasised by the poets and, within the boundaries set by the insoluble tragic conflict, presented as morally justified. The author supports the view that, by introducing the characters of rebels, the writers intended to draw the attention of the audience to the historical instances of the rule of tyrants and acts of rebellion against them. In connection with that fact they referred to the particularly Athenian ethos of opposing the tyranny, and sometimes the Tyrannicides themselves, i.e. Harmodius and Aristogeiton.
    Dostawca treści:
    Biblioteka Nauki
    Książka
      Wyświetlanie 1-3 z 3

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