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    Tytuł:
    Elements of Ancient Tragedy in the 'Homo Faber' by Max Frisch
    Autorzy:
    Kwiatkowska-Rompel, G.
    Powiązania:
    https://bibliotekanauki.pl/articles/702812.pdf
    Data publikacji:
    2005
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    FRISCH MAX ('HOMO FABER') & ANCIENT TRAGEDY
    Opis:
    The article shows how Max Frisch's famous novel 'Homo Faber' is modelled on Sophocles' 'Oedipus the King' and 'Oedipus in Colonus' and how Frisch took account of Aristotle's remarks on tragedy, contained in his 'Poetics'.
    Źródło:
    Meander; 2005, 60, 4; 468-495
    0025-6285
    Pojawia się w:
    Meander
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Hamlet Szekspira a tragedie Seneki
    Shakespeare’s ‘Hamlet’ and Seneca’s Tragedies
    Autorzy:
    Hajduk, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/1046681.pdf
    Data publikacji:
    2015-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    William Shakespeare
    Seneca the Younger
    Ancient tragedy
    Elizabethan drama/theatre
    Hamlet
    Opis:
    In this paper I am discussing some crucial resamblences between ancient tragedy of Seneca the Younger and Hamlet by William Shakespeare. I want to show how important is to have in mind Seneca’s efforts while trying to understand „philosophy” and structure of Hamlet.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2015, 25, 1; 109-125
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Problem antycznej ekfrazy teatralnej. Część II: Scenografia
    The Issue of Ancient Theatrical Ekphrasis. Part II: Scenography
    Autorzy:
    Czerwińska, Jadwiga
    Powiązania:
    https://bibliotekanauki.pl/articles/648688.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    ekfrasis
    scenography
    ancient Greek tragedy
    Euripides
    Opis:
    One of the dramatic ekphrasis forms is the ekphrasis of stage design. It describes what is usually made visible, at least partially, to the public, drawing its attention to important elements of scenography that played a significant role in the performance. Therefore it was necessary to make the spectators aware of those elements. They were used by all three tragedians: Aeschylus, Sophocles and Euripides. The article focuses on selected ekphrases of scenography taken from three Euripidean tragedies: Iphigenia in Tauris, Ion, Alcestis, and on their role in the structure of drama.
    Źródło:
    Collectanea Philologica; 2018, 21; 59-74
    1733-0319
    2353-0901
    Pojawia się w:
    Collectanea Philologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Problem antycznej ekfrazy teatralnej. Część I: Postać
    The Issue of Ancient Theatrical Ekphrasis. Part I: The Character
    Autorzy:
    Czerwińska, Jadwiga
    Powiązania:
    https://bibliotekanauki.pl/articles/648682.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    ekphrasis
    dramatis persona
    ancient Greek tragedy
    Euripides
    Opis:
    Ekphrasis is one of the forms that the Greek tragic dramatists used in their plays. From a dramaturgical point of view it was a very important element of play strictly connected with the conventions of the ancient theater. The examples taken from the Euripidean tragedy will be used to demonstrate the ways the ancient Greek tragedians applied ekphrasis in their works. Their review will start with descriptions, which can be conventionally called the ekphrasis of the theatrical “mask”. The term mask is understood here not sensu stricto as a part of actor’s costume, but as having a reference to what it hides. This type of ekphrasis may be found in visually inaccessible to the public of the Greek theater face of dramatis personae that is hidden behind the mask. It concealed facial expressions, so important to understand the action of the drama itself, as well as the role played by the actor. It is impossible to overestimate the importance of this dramaturgical element as a non-verbal means of communication which harmonizes with the text of play and its action and is crucial to perceive the intended meaning of the actors’ words.
    Źródło:
    Collectanea Philologica; 2018, 21; 39-57
    1733-0319
    2353-0901
    Pojawia się w:
    Collectanea Philologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część II: Mneme w utworach Eurypidesa
    From the Study on the Concept of Memory – Mneme in Greek Drama. Part II: Mneme in the Eurypides’ Plays
    Autorzy:
    Narecki, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/648684.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    mneme – memory
    semantics
    ancient Greek tragedy
    Euripides
    Opis:
    Study on the concept of mneme – “memory” in the plays of Euripides is a continuation of our research (based on the works of Greek tragedians), whose aim is not only to establish meanings, especially new ones, but also to define the role that this concept plays in the works of Euripides. Linguistic and literary analysis of 8 instances of a noun mneme shows that this concept reveals hitherto unknown semantic values and it also performs functions that are important for the plot. Among the meanings of mneme there are five new ones: (1) “testimony, proof” (Suppliant Women), whose role is a ‘media’ message to guarantee the preservation of memory about Theseus’ feats among descendants, (2) “account, balance” (Heracles), rational argument, which the hero must use in a critical situation caused by divine power, (3) specific “history”, which creates the plot (Ion), (4) “reason, rightness” (Iphigenia at Aulis), i.e. evidence of predominance of the woman over the man (in terms of character), (5) “image”, twice in this sense (Iphigenia at Aulis): 1. as a panorama, vivid memory of panegyric and cognitive nature (Greek expedition), 2. as scenes from Iphigenia’s childhood cited in order to change the decision of Agamemnon. In addition to the new ones, Euripides also uses known meanings: mneme with negation, i.e. the lack of “mentions, memories” (= concealment) becomes an important element of the plot of Helen, guaranteeing its happy ending; in turn mneme as Kreon’s “thought” is a tool for mastering feelings and influencing the development of stage events. All meanings defined by Euripides can be divided into two groups. The first group includes meanings that have rational value: (1) “account, balance”, (2) “thought”, (3) “reason, rightness”. In the other group there are expressive meanings: (1) “testimony, proof”, (2) “mention, memory”, (3) “history”, (4) “image”. Undoubtedly, Euripides not only broadened the semantic scope of the concept of mneme, introducing its new values, but creatively used them in his plays, whether to describe the main characters, or as an element influencing the action, or finally as a testimony of the past that is important for the plot.
    Źródło:
    Collectanea Philologica; 2018, 21; 25-38
    1733-0319
    2353-0901
    Pojawia się w:
    Collectanea Philologica
    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:
    Mad-about Radiguet. Tōzoku and Mishima Yukio’s Classical Aestherics
    ラディゲに夢中－『盗賊』と三島由紀夫の古典美学
    Autorzy:
    Kubiak Ho-Chi, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/1810463.pdf
    Data publikacji:
    2011
    Wydawca:
    Polskie Stowarzyszenie Badań Japonistycznych
    Tematy:
    Mishima Yukio
    Tōzoku
    Raymond Radiguet
    Count Orgel Opens the Ball
    classical aesthetics
    ancient tragedy
    Madame de La Fayette
    The Princess of Cleve
    French Classicism
    Opis:
    小説と戯曲を共に含めた三島由紀夫（1925－1970）の全作品は数多くの文学作品からなっており、その内容や形式は古典日本文学の伝統だけではなく、フランス17世紀の古典主義や古代ギリシアの文学作品、特に古典悲劇にも端を発している。 本論文は、レイモン・ラディゲの小説『ドルヂェル伯の舞踏会』（Count Orgel Opens theBall, 1924）をモデルとした三島の処女作『盗賊』（The Thieves, 1948）に代表される三島の作家人生の初期に的を絞り、最初でありつつ最も重要な創作の原点となった20世紀のフランス人作家、レイモン・ラディゲの諸作品を分析することで、日本人作家三島が抱く西洋古典文学に対する深い関心の根源を明らかにする。
    Źródło:
    Analecta Nipponica; 2011, 1; 67-80
    2084-2147
    Pojawia się w:
    Analecta Nipponica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies
    Czysta propaganda, czy wielka sztuka, patriotyzm i obywatelskie zaangażowanie – jak Ajschylos oraz Eurypides używali swoich fabuł, by wspomóc Ateńską politykę wobec sojuszników
    Autorzy:
    Śmiechowicz, Olga
    Powiązania:
    https://bibliotekanauki.pl/articles/1045766.pdf
    Data publikacji:
    2019-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    ancient theatre
    propaganda
    allies
    tragedy
    Aeschylus
    Euripides
    international politics
    Opis:
    In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2019, 29, 2; 5-16
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    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:
    Dziedzictwo antyku w twórczości Romana Brandstaettera (kilka przybliżeń)
    Heritage of the Classical Antiquity in Roman Brandstaetter’s Literary Works (A Few Examples)
    Autorzy:
    Kaczmarek, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/1892219.pdf
    Data publikacji:
    2013
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    antyk grecki
    chrześcijaństwo
    mitologia
    tragedia grecka
    anagnorisis
    kenosis
    ancient Greece
    Christianity
    mythology
    Greek tragedy
    Opis:
    The subject matter of the article is the relationship between ancient literature and Brandstaetter’s writings. The Polish writer interprets motifs from Greek mythology and ancient dramas in the light of Christian anthropology. The author of the article demonstrates examples of such an interpretation in Brandstaetter’s “Odys płaczący” (“Odysseus Weeping”), in which the effect of anagnorisis is broadened by the Christian understanding of kenosis. Odysseus’ return home becomes a metaphor of the paschal passage from sin to grace.
    Źródło:
    Roczniki Humanistyczne; 2013, 61, 3; 81-92
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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