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    Wyświetlanie 1-9 z 9
    Tytuł:
    Poliksena Sofoklesa – problemy rekonstrukcji
    SOPHOCLES POLYXENA – CERTAIN PROBLEMS OF RECONSTRUCTION
    Autorzy:
    Pietruczuk, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/702717.pdf
    Data publikacji:
    2008
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Sophocles
    Greek tragedy
    fragmentary plays
    Polyxena
    Opis:
    Fragments of Sophocles’ Polyxena are analysed here in order to deduce information on the plot of the tragedy. Special attention is given to the apparition of Achilles’ ghost and to the question whether the hero’s tomb was erected on the stage.
    Źródło:
    Meander; 2008, 63, 1-4; 59-75
    0025-6285
    Pojawia się w:
    Meander
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część I: Mneme w utworach Ajschylosa i Sofoklesa
    From the Study on the Concept of Mneme – “Memory” in Greek Drama. Part I: Mneme in Aeschylus’ and Sophocles’ Plays
    Autorzy:
    Narecki, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/648690.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    mneme – memory
    semantics
    ancient Greek tragedy
    Aeschylus
    Sophocles
    Opis:
    The aim of the study, which is a continuation of this type of research (based on Greek literary sources of the Presocratic era), is to determine the meanings of the concept of mneme – “memory” in the works of Aeschylus and Sophocles, as well as to determine the function it plays in a given place. Linguistic and literary analysis of 12 instances of a noun mneme in Aeschylus (3) and Sophocles (9) shows that this concept reveals hitherto unknown semantic shades. Aeschylus gives mneme a new meaning of “worship” (in Suppliants). He also uses the already known: intellectual “power of memory” and for the first time in the history of Greek literature identifies “memory” with the mother of all muses – Mnemosyne (in Prometheus Bound). More often mneme appears in the works of Sophocles, which results from the functions performed there. After all, the intellectual “power of memory” and “memories” as the effects of its actions allow the characters to: (1) do well (and thus keep the moral order), (2) get to know the truth about ourselves (to recognize our own identity) changing the course of dramatic action as part of the peripeteia (the case of Oedipus), (3) lead (as the driving force) to destruction of heroes (Jocasta, Oedipus), (4) drive the action (as “thought”), (5) serve as a moral compass (in a new semantic shade “attention”, in Oedipus at Colonuss), (6) store a resource (memories) as a deposit in collective memory as a warning for posterity. And finally, for the first time in history, the concept of mneme as a tool of mimesis is used in Oedipus Rex in the new sense: “the ability to (re)create” (inspired by Mnemosyne) or otherwise: “poetic art of reconstruction” of dramatic events. Defined meanings (semantic shades) of mneme can be divided into 2 groups. The first group includes those that take rational value: “power / ability to remember”, “thought”, “attention”), while the other holds the expressive meanings: “worship, honour, commemoration”, “(re)creative, poetic reconstruction”. It seems that the Greek tragedians were aware of the role that mneme can play in their works: whether in the depiction of the characters, or as an element that drives the action, or in recalling, in various ways, the past and its cultivation.
    Źródło:
    Collectanea Philologica; 2018, 21; 5-23
    1733-0319
    2353-0901
    Pojawia się w:
    Collectanea Philologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Antygona jako homo sacer. Przedpolityczna przemoc w świecie bez praxis
    Antigone as homo sacer. Pre-political violence in the world without praxis
    Autorzy:
    Wojciechowska, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/1964589.pdf
    Data publikacji:
    2019
    Wydawca:
    Ośrodek Badawczy Facta Ficta
    Tematy:
    Antigone
    Sophocles
    homo sacer
    violence
    praxis
    woman
    Opis:
    This paper is a proposition of a new intepretation of Sophokles’ ‘Antigone’. Author uses a specific term homo sacer to analyze the reality of ancien polis described in the tragedy. Both Giorgio Agamben and Judith Butler made use of the concept of homo sacer to read ‘Antigone’ but they gave it a modern approach. Agamben treats the homo sacer as a person who is deprived of the laws and who, as a result, is banished from a community. He sees the homo sacer in modern refugees. The author of this chapter acknowledges Butler’s and Agamben’s approach but also reaches to the originis of the term. The idea of a sacred man derrives from pre-Roman law, which is described as a pre-politic law of violence. The author analyzes the situation of Antigone who becomes the homo sacer after being cursed by Creon. Antigone takes an action (praxis) while public speaking and therefore she steals the law which was originally available to polis citizens – men. She then becomes a woman-citizen, somone who has no place in polis. Antigone’s status is to be ‘in-between’, she is no woman, nor man. There is no place for her in polis. That is why she must be cursed and called the homo sacer. The new identity is given to her by the law. The aim of the chapter is to prove that the Antigone’s fate of being the homo sacer shows the moment of degeneration of the Greek polis. It shows what happens if the pre-politic violence becomes a part of the community.
    Źródło:
    Facta Ficta. Journal of Theory, Narrative & Media; 2019, 3, 1; 17-28
    2719-8278
    Pojawia się w:
    Facta Ficta. Journal of Theory, Narrative & Media
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)
    Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original
    Autorzy:
    Skwara, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/1046566.pdf
    Data publikacji:
    2017-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Greek tragedy
    Sophocles
    Oedipus Rex
    ancient performances
    Igor Stravinsky
    opera
    Opis:
    This article is a voice in the discussion on the methods of stage implementation of Greek tragedy. The discussed staging of “Oedipus Rex” opera by Stravinsky (Tokyo ‚94) is dominated by non-verbal means of expression (music, set design, costume, stage movement), thus setting a supporting role for the libretto. Nevertheless, the performance arouses similar feelings and emotions as Sophocles’ drama.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2017, 27, 3; 7-12
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    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:
    Der Begriff πύλη in Mt 16,18 und die Tragödie Antigone von Sophokles
    The word πύλη in MT and the Tragedy Antigone of Sophocles
    Słowo πύλη w MT 16,18 i Tragedia Antygona Sofoklesa
    Autorzy:
    Dzikiewicz, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/22676772.pdf
    Data publikacji:
    2021-06-07
    Wydawca:
    Wyższe Seminarium Duchowne w Łodzi
    Tematy:
    przekład
    brama
    moc
    gardziele
    Sofokles
    Antygona
    Hades
    miasto
    translation
    gate
    power
    throat
    Sophocles
    Antigone
    city
    Opis:
    This article follows a study undertaken 2017 in the journal Colloquia Theologica Ottoniana (pp. 57–67). The argumentation proposed at that time justifying the reading of the term πύλαι in Mt 16,18 as “throats” is here enriched with two other reasons for just such understanding of the analyzed Greek noun. The recited evidence comes from Sophocles’ Antigone and in some measure confirms the correctness of the proposed interpretation.
    Niniejszy artykuł stanowi kontynuację studium podjętego w 2017 r. na łamach drugiego numeru czasopisma Colloquia Theologica Ottoniana (s. 57–67). Zaproponowana wówczas argumentacja, uzasadniająca odczytanie słowa πύλαι w Mt 16,18 jako „gardziele”, jest tu wzbogacona o kolejne dwie racje przemawiające za takim właśnie zrozumieniem analizowanego greckiego rzeczownika. Przytaczane dowody pochodzą z Antygony Sofoklesa i niejako utwierdzają w słuszności proponowanej interpretacji.
    Źródło:
    Łódzkie Studia Teologiczne; 2021, 30, 1; 37-48
    1231-1634
    Pojawia się w:
    Łódzkie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przestrzeń i czas w tragediach Sofoklesa
    Scenic Space and Time in Sophocles’ Theatre
    Autorzy:
    Majewska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/1953797.pdf
    Data publikacji:
    2005
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    czas sceniczny
    przestrzeń sceniczna
    scenografia
    Sofokles
    teatr grecki
    tragedia
    scenic time
    scenic space
    scenery
    Sophocles
    Greek theatre
    tragedy
    Opis:
    The article presents how the Athenian dramatist created the scenery of his plays with the simple scenic furnishings of the fifth-century stage, consisting only of a skene-building, an orchestra and an altar. The scenery could not be realistic and Sophocles painted the settings verbally, with all details. The localization of his plays was usually signalled in the texts themselves. Both the theatrical space and time were modified by the poet with the word. As to the time, that could be lenghtened or compressed in the play by the odes of the chorus. The paper presents whether Sophocles complies or not with the classical convention of the unity of space and time, and cases discussed by the author of the article show that mostly he does (there is one exception, also presented).
    Źródło:
    Roczniki Humanistyczne; 2005, 53, 3; 61-72
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Authenticity, Self-Invention and the Power of Storytelling: Sam Shepard’s Postmillennial Work
    Autorzy:
    Mirowska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/1394583.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Sam Shepard
    A Particle of Dread (Oedipus Variations)
    Sophocles
    Oedipus Rex
    Field Day
    The UK City of Culture
    Derry/Londonderry
    authenticity
    self-invention
    Opis:
    The article reflects upon Sam Shepard’s playwrighting in the opening decades of the twenty-first century, paying particular attention to his last play, A Particle of Dread (Oedipus Variations), written specifically for the Derry/Londonderry City of Culture celebrations in 2013, and originally produced by the renowned Field Day Theatre Company. The article seeks to offer an insight into Shepard’s mature multilayered text, which, in many respects, looks back upon almost fifty years of his artistic creativity and, at the same time, expands his vision. It also addresses the realisation of Shepard’s play in performance and the significance of his text in an interplay of multiple creative inputs involved in the production process. While revisiting the familiar landscapes and themes, Shepard’s most recent work negotiates the boundaries between the actual and the fictitious, raising debates about the persistence of myths, mortality and the haunting legacies of the past. Richly intertextual and conspicuously metatheatrical, it grapples with questions of authenticity, performativity and storytelling – the narratives that are passed down, and how they form and inform our lives. It also engages with, and further problematises, issues of personal and cultural identity, which constitute Shepard’s most durable thematic threads, revealing both the dramatist’s acute concern with fateful determinism and commitment to self-invention. Significantly, while Shepard’s postmillennial output highlights the author’s ongoing preoccupation with instability and frontiers of various sorts (from those topographic, temporal and sociopolitical to those of language and art), it equally intimates his attentiveness to correspondences between times, lands and cultures.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2020, 6, 1; 28-39
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bedeutungsbildung zwischen textuellem Angebot und individuellem Rezeptionshorizont: Janusz Głowackis „Antygona w Nowym Jorku” („Antigone in New York”) – polnisch, englisch und deutsch
    Autorzy:
    Schultze, Brigitte
    Powiązania:
    https://bibliotekanauki.pl/articles/1032703.pdf
    Data publikacji:
    2011-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Janusz Głowacki
    „Antygona w Nowym Jorku”
    tragikomedia
    tragedia Sofoklesa
    emigracja
    bezdomność
    społeczeństwo konsumpcyjne
    „Antygone in New York”
    tragicomedy
    Sophocles' tragedy
    migration
    homelessness
    consumer society
    „Antigone in New York”
    Tragikomödie
    Tragödie des Sophokles
    Exil
    Obdachlosigkeit
    Konsumgesellschaft
    Opis:
    Dieser Beitrag gilt dem bislang erfolgreichsten Theaterstück von Janusz Głowacki – Antygona w Nowym Jorku (Antigone in New York). Die 1992 erstmals gedruckte, in viele Sprachen übersetzte und in vielen Ländern gespielte Tragikomödie enthält ein breites Angebot zur Schaffung von theatralem Sinn: Neben Bezügen zur Tragödie des Sophokles stehen kohärente aktuelle Themen wie Migration, Obdachlosigkeit, Exzesse der Konsumgesellschaft u. a. Die drei hier miteinander verglichenen Versionen des Stücks, die polnische, englische und deutsche, weisen eine bemerkenswerte Diversifizierung auf. Unterschiede in der Rezeption des Stückes sind dabei nicht allein durch Änderungen am Text, sondern auch durch die persönlichen, subjektiven Bedingungen der Leser und Theaterbesucher (allgemeine kulturelle Kompetenz, Herkunftsland etc.) und auch durch politische Veränderungen im 21. Jhd. gegeben.
    Niniejszy artykuł dotyczy uwieńczonej największym sukcesem sztuki teatralnej Janusza Głowackiego – Antygony w Nowym Jorku. Tragikomedia, po raz pierwszy wydana w 1992 roku, przetłumaczona na wiele języków i przedstawiona w wielu krajach, zawiera szeroką ofertę kreacji sensu scenicznego: oprócz referencji do tragedii Sofoklesa są tu aktualne tematy jak temat migracji, bezdomności, ekscesów społeczeństwa konsumpcyjnego i inne. Porównane między sobą wersje dramatu – polska, angielska i niemiecka – wykazują znaczne dywergencje. Przy tym różnice w recepcji owej sztuki teatralnej wynikają nie tylko ze zmian w samym tekście, lecz również z indywidualnej, subiektywnej kondycji czytelników i widzów teatralnych (z ogólnej kompetencji kulturowej, kraju pochodzenia itd.), a również ze zmian politycznych na początku XXI stulecia.
    This paper concerns Janusz Głowacki’s up to now most successful theatre play – Antigone in New York. The tragicomedy, published for the first time in 1992, translated into many languages and performed in many countries, contains wide offer for the creation of theatrical sense: besides references to Sophocles’ tragedy Antigone, there are several topical themes such as migration, homelessness, excesses of consumer society etc. Compared to one another, all three language versions of the play (Polish, English and German) show remarkable diversification. The differences in reception of the play stem not only from change in the text itself but also from personal, subjective conditions of readers and theatre-goers alike (i.e., concerning general cultural competence, the country of origin etc.), and also from political change in the beginning of the 21th century.
    Źródło:
    Convivium. Germanistisches Jahrbuch Polen; 2011; 321-343
    2196-8403
    Pojawia się w:
    Convivium. Germanistisches Jahrbuch Polen
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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