The didactic dimension of mythological figures in Greek literature and scholia

W artykule zostaje podjęty problemem typu bohatera i antybohatera wykreowanego w literaturze przez antyczną kulturę grecką. Z uwagi na to, że problem ten w aspekcie diachronicznym jest bardzo szeroki, dlatego, chcąc dokonać jego pogłębionej analizy, konieczne jest zawężenie pola badawczego. Artykuł podejmuje zatem omawianą kwestię w eposie Homera, przy czym zostają w nim zestawione stworzone przez epika paradygmaty postaw bohaterów mitologicznych z postaciami wykreowanymi przez Eurypidesa. O wyborze tym zadecydował fakt, że utwory obu poetów możemy uznać za reprezentatywne dla ukazania świata wartości epok, w których tworzyli, oraz to, że u wymienionych poetów te same postacie mitologiczne podlegają niekiedy zupełnie odmiennej waloryzacji.The paper discusses the types of heroes and anti-heroes established in literature by ancient Greek culture. In order to provide a full treatment of the subject, which in its diachronic aspect is very broad, the field of research has been limited. As a result, the present paper analyzes examples of mythological figures in the epic poems of Homer in juxtaposition with those found in Euripidean drama. The two authors have been chosen in view of the fact that their works are model representations of the values of their times as well as of the noticeable differences between them in evaluating the same mythological figures

Female Deities And Demons In Greek Tragedy

The article focuses on female deities and demons appearing in ancient Greek tragedy. At the beginning the classification of female deities and demons is made followed by description of its two categories. The first category consists of deus ex machina characters exemplified by Athena from Iphigenia in Tauris by Euripides. The second is depicted in the image of Erynies that appear both in the action (Aeschylus’ Eumenides) and in commentaries (Euripides’ Iphigenia in Tauris)

Intersemiotic Translation of Ancient Myth in the Production of Phaedra by Maja Kleczewska

The present paper tends to analyze the procedure of intersemiotic translation of ancient myth of Phaedra, in its written version by Euripides (Hippolytus), into the contemporary stage production of Phaedra by Maja Kleczewska. The analysis of the performance is preceded by the extended introduction regarding reception of myth in general, and reception of Phaedra myth in particular. In this context, theories of Hans Blumenberg and Gilbert Durand are recalled in order to establish the understanding of myth’s transformation. Myth of Phaedra is scrutinized diachronically and synchronically within the background of Maurice Merleau-Ponty’s idea of body and sexuality. The theatre production is explored with reference to its textual basis (Euripides, Seneca, Tasnádi, Enquist) on the one hand, and in relation to the contemporary theories of actor’s body (Erika Fischer-Lichte, Hans-Thies Lehmann). The overarching goal of the paper is to analyze the procedure of intersemiotic translation of the mythical core of Phaedra myth (defined in terms of body) into actor’s body on stage (defined in its phenomenology).finansowanie z program SONATA Narodowego Centrum Nauki (DEC-2012/07/D/HS2/01106

„Anthropeia Physis” come dramatis persona in Euripide

Jadwiga Czerwińska è docente di letteratura greca presso l’Università di Lódź nel Dipartimento di Filologia Classica, di cui da qualche anno, per meriti accademici, è stata nominata anche Direttrice. La Czerwińska come docente, studiosa, filologa e ricercatrice ha percorso una brillante carriera: le sue innumerevoli pubblicazioni, apprezzate nell’ambiente accademico e non, per il rigore scientifico, per le brillanti intuizioni e per l'agilità dell'esposizione, sono ospitate nelle più prestigiose riviste nazionali e internazionali. Il frutto delle sue ricerche ha riscosso sempre immediato e meritato successo, perché la studiosa, nell’appassionata interpretazione del mondo classico, ha sempre messo in risalto particolari e risvolti culturali, intuiti e lumeggiati con squisita finezza. Nell’ambito della sua produzione scientifica, un ruolo particolare occupano i suoi studi su Democrito, Eraclito e, soprattutto, Euripide; è stata una delle maggiori e più impegnate collaboratrici nella stesura della „Literatura Grecji Starożytnej”, vol I e II, Towarzystwo Naukowe KUL, Lublin 2005. L’opera è vasta e prestigiosa, l’accoglienza da parte della critica e degli studiosi favorevole. Particolare apprezzamento riscuote la sezione dedicata alla tragedia, nella quale la studiosa concentra tutta l’acribia di ricercatrice sul teatro di Euripide, di cui è, oggi, certamente la massima esperta. Con quest’ultimo e impegnativo lavoro, „Anthropeia physis”, la Czerwińska propone uno studio attento ed appassionato su alcuni aspetti della tragedia di Euripide: indaga con fine sensibilità l’animo di alcuni personaggi per metterne in risalto sia l’intimo travaglio psicologico che l’azione drammatica; Euripide viene inserito nel contesto socio-politico e culturale, nel quale la retorica e la filosofia alimentavano e sollecitavano gli spiriti più sensibili. „Anthropeia physis”, quindi, si presenta e si impone come utilissimo strumento per i professori e, in modo particolare, per gli studiosi, che desiderano affrontare, approfondire e proporre in un'ottica diversa l’imperituro messaggio della cultura greca in generale e della tragedia in particolare. In quest’opera, unica nel suo genere, l’Autrice profonde tutte le sue energie per lumeggiare particolari aspetti, cui la critica e glis tudiosi nel passato non avevano porto la dovuta attenzione. Il volume rimarrà certamente un caposaldo per lo studio della tragedia e del complesso mondo culturale del V sec. a. C. ad Atene

The Issue of Ancient Theatrical Ekphrasis. Part II: Scenography

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

The Issue of Ancient Theatrical Ekphrasis. Part I: The Character

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

Filologia klasyczna Uniwersytetu Łódzkiego - wielcy badacze, niezapomniane osobowości

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 zostało dofinansowane ze środków MNiSW w ramach działalności upowszechniającej nauk

Greek myth - its modifications, meanings and functions. Isuues draft.

The subject of the article concerns the issues of ancient Greek myth, its modifications and functions. The starting point for a such formulated problem is the Aristotle’s rules to which a myth is subject. The philosopher links these rules with the theory of tragedy’s poetics, that should be directed by probability. Following the standards, that were in force in Antiquity, a function, which had to be fulfilled by a myth, determined the way of using mythology by Greek dramatists. The modern culture reinterpret a Greek myth. A function, which a myth has to fulfil, as in ancient times, is its basis and determinant. The task of a myth is, first of all, indicated as an universalization of the values, that are inscribed in this myth

La trilogia troiana come il drammo poetico

Le considerazioni contenute nell'articolo aspirano a certe generalizzazioni utili per propagare il fenomeno, il quale era la tragedia greca, dunque a indicare le sue proprieta immanenti ed i modi della loro realizzazione nella struttura drammaturgica. La trilogia troiana di Euripide divento l'esemplificazione di questi tratti e fenomeni che caracterizzano in modo particolare la tragedia greca