The motif of Odysseus and Penelope in contemporary european drama

Odisej i Penelopa književni su arhetipovi koje autori kroz povijest uvijek rado oživljavaju. Homer je u Odiseji postavio osnove bračnog odnosa koji se temelji na međusobnom podupiranju, razumijevanju i ljubavi, a u isto vrijeme potvrdio obitelj kao središnju jedinicu društva. Odnos Odiseja i Penelope prema tome predstavlja ideal međuljudskih odnosa, a osobito muško-ženskog. Motiv se razvija i mijenja kroz povijest, a osobito je to vidljivo u suvremenoj drami u kojoj poprima specifične moderne i postmoderne elemente. Pritom treba napomenuti da do danas ostaje karakteristična povezanost motiva uz ratno ili poslijeratno razdoblje. Ovaj rad ima za cilj proučiti suvremene europske adaptacije motiva Odiseja i Penelope u drami, promatrajući suvremene varijante kroz matricu postavljenu od najznačajnijih vrijednosti koje prenosi ep, ali i poštujući ideje i načela koja su oblikovala suvremenu misao. Prije svega se to odnosi na psihoanalitičku i feminističku teoriju. Analizirano je deset drama u vremenskom slijedu od početka 20. stoljeća do danas, čime se potvrđuje aktualnost motiva kao i činjenica da je pogodan za varijacije. Svaka od tih drama značajno je doprinijela obogaćenju europske književnosti razdoblja u kojem je nastala te ujedno dala poseban doprinos proučavanom motivu. Analize pokazuju dvojaku tendenciju. U prvom dijelu dvadesetog stoljeća, tijekom moderne, pojavljuje se niz drama koje motiv interpretiraju isključivo iz muškog stanovišta pri čemu lik Penelope pada u drugi plan ili se nadopunjuje muškim vizijama ženstvenosti. U postmoderni se fokus naglo pomiče s Odiseja na Penelopu, pri čemu i muški i ženski autori pokušavaju emancipirati junakinju, prikazujući ju u najmanju ruku po svemu ravnopravnu, ako ne i snažniju od njenog muškog partnera. U oba je slučaja jedan od ishoda osuvremenjivanja motiva činjenica da s iznimkom Straußove Ithake sve drame nailaze na društveno uvjetovane prepreke koje onemogućavaju ponavljanje starogrčkog mita. Unatoč tome, značajan broj postojećih drama, kao i načini na koje ih autori oblikuju, dokazuje da je motiv aktualan jer tematizira osnovni društveni odnos muško-žensko, neovisno o tome gleda li se na njegove polove kao psihičke ili biološke kategorije te je ujedno pogodan za prilagođavanje različitim sredinama i vremenima, kao i za preispitivanje različitih društvenih normi.Authors have throughout history shown a tendency to revive the archetypal literary heroes Odysseus and Penelope. Homer constructed in his Odyssey a marital relationship which is based on mutual respect, understanding and love, while confirming family as the central social unit. The relationship between Odysseus and Penelope is therefore presented as the ideal human relationship, especially between a male and a female partner. The motif underwent major changes in different literary periods and acquired elements specific to each period, which is most visible in contemporary drama where it shows elements of Modernism and Postmodernism. None the less, the connection to war and post-war periods remains present. The aim of this work is to analyze contemporary European adaptations of the motif of Odysseus and Penelope in drama, while observing them through the matrix of most important values presented in the Odyssey and with respect to the ideas and principles that shaped the contemporary point of view. First and foremost this refers to the Psychoanalytic and Feminist theory. The analyses in question include ten different dramas, dating from the beginning of the 20th century until today, which affirms the topicality of the motif as well as its capacity for variation. Each of the included dramas enriched the European literature of the period it had emerged from and gave its special contribution to the overall motif. The analyses show a double tendency. In the first part of the 20th century, during the period of Modern literature, a span of dramas emerged that offered an interpretation from an exclusively male point of view, as a result of which Penelope became a secondary character or appeared only as a male construction of the female. The focus shifts drastically from Odysseus to Penelope in Postmodernist literature, as the authors try to emancipate their heroine showing her at least equal to, if not even more powerful than her male partner. In both cases one of the results of the motif’s adjustment to contemporary literature is that apart from Strauß’s Ithaka, all dramas fail to fulfil the mythological structure due to socially conditioned obstacles. Nevertheless, the significant number of existing dramas, as well as the manner in which they are shaped, prove that the motif is topical because it examines the elementary social relationship between a man and a woman, whether these poles are considered as psychological or biological categories. The motif proves adequate to be adapted to different settings, as well as to question diverse social norms

Erzählen als lebensbewältigende Kompetenz im Unterricht – der erfolgreiche Übergang von Theorie zur Praxis

Becker, Tabea & Petra Wieler (Hrsg.). 2013. Erzählforschung und Erzähldidaktik heute. Entwicklungslinien. Konzepte. Perspektive

Prikazi

These are reviews of the following books: "Alice in a World of Wonderlands: Translations of Lewis Carroll’s Masterpiece. Volume One: Essays, Volume Two: Back-Translations, Volume Three: Checklists" edited by Jon A. Lindseth and Alan Tannenbaum, " Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass: A Publishing History" written by Zoe Jaques and Eugene Giddens, "The Story of Alice: Lewis Carroll and the Secret History of Wonderland" written by Robert Douglas-Fairhurst and "Alice hinter den Mythen. Der Sinn in Carrolls Nonsense" written by Celia Brown.Prikazi sljedećih knjiga "Alice in a World of Wonderlands: Translations of Lewis Carroll’s Masterpiece. Volume One: Essays, Volume Two: Back-Translations, Volume Three: Checklists" urednika Jon A. Lindsetha i Alana Tannenbauma, " Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass: A Publishing History" autora Zoe Jaques and Eugene Giddensa, "The Story of Alice: Lewis Carroll and the Secret History of Wonderland" autora Robert Douglas-Fairhursta te "Alice hinter den Mythen. Der Sinn in Carrolls Nonsense" autorice Celie Brown

Nähe und Distanz als dramatische Elemente in Ransmayrs Odysseus. Verbrecher und Stefanovskis Odisej

Die dramatische Funktion der mentalen und geographischen Konzepte 'Nähe' und 'Distanz' erprobt sich erfolgreich am Heimat-Begriff. Es werden Christoph Ransmayrs Odysseus. Verbrecher und Goran Stefanovskis Odisej analysiert. Es zeigt sich, dass eine Rückkehr enttäuschend sein kann, weil die mentale Vorstellung von Heimat nicht mit der geographischen übereinstimmt. Der Heimkehrer verbleibt in dieser mentalen Distanz, was seiner Umwelt und seiner Identitätsbildung Schaden bereitet. Das deutsche Konzept Heimat, wie es Peter Blickle erklärt, kann auf beide Texte angewendet werden. An Ransmayrs Text ist jedoch zu erkennen, dass er seine Position und Kritik gegenüber diesem Konzept bildet, während der Vergleich mit Stefanovskis Text nur Ähnlichkeiten aufweist, aber keine Kongruenz im kulturellen Heimatkonzept zeigt

Erzählen als lebensbewältigende Kompetenz im Unterricht – der erfolgreiche Übergang von Theorie zur Praxis

Becker, Tabea & Petra Wieler (Hrsg.). 2013. Erzählforschung und Erzähldidaktik heute. Entwicklungslinien. Konzepte. Perspektive

The motif of Odysseus and Penelope in contemporary european drama

Odisej i Penelopa književni su arhetipovi koje autori kroz povijest uvijek rado oživljavaju. Homer je u Odiseji postavio osnove bračnog odnosa koji se temelji na međusobnom podupiranju, razumijevanju i ljubavi, a u isto vrijeme potvrdio obitelj kao središnju jedinicu društva. Odnos Odiseja i Penelope prema tome predstavlja ideal međuljudskih odnosa, a osobito muško-ženskog. Motiv se razvija i mijenja kroz povijest, a osobito je to vidljivo u suvremenoj drami u kojoj poprima specifične moderne i postmoderne elemente. Pritom treba napomenuti da do danas ostaje karakteristična povezanost motiva uz ratno ili poslijeratno razdoblje. Ovaj rad ima za cilj proučiti suvremene europske adaptacije motiva Odiseja i Penelope u drami, promatrajući suvremene varijante kroz matricu postavljenu od najznačajnijih vrijednosti koje prenosi ep, ali i poštujući ideje i načela koja su oblikovala suvremenu misao. Prije svega se to odnosi na psihoanalitičku i feminističku teoriju. Analizirano je deset drama u vremenskom slijedu od početka 20. stoljeća do danas, čime se potvrđuje aktualnost motiva kao i činjenica da je pogodan za varijacije. Svaka od tih drama značajno je doprinijela obogaćenju europske književnosti razdoblja u kojem je nastala te ujedno dala poseban doprinos proučavanom motivu. Analize pokazuju dvojaku tendenciju. U prvom dijelu dvadesetog stoljeća, tijekom moderne, pojavljuje se niz drama koje motiv interpretiraju isključivo iz muškog stanovišta pri čemu lik Penelope pada u drugi plan ili se nadopunjuje muškim vizijama ženstvenosti. U postmoderni se fokus naglo pomiče s Odiseja na Penelopu, pri čemu i muški i ženski autori pokušavaju emancipirati junakinju, prikazujući ju u najmanju ruku po svemu ravnopravnu, ako ne i snažniju od njenog muškog partnera. U oba je slučaja jedan od ishoda osuvremenjivanja motiva činjenica da s iznimkom Straußove Ithake sve drame nailaze na društveno uvjetovane prepreke koje onemogućavaju ponavljanje starogrčkog mita. Unatoč tome, značajan broj postojećih drama, kao i načini na koje ih autori oblikuju, dokazuje da je motiv aktualan jer tematizira osnovni društveni odnos muško-žensko, neovisno o tome gleda li se na njegove polove kao psihičke ili biološke kategorije te je ujedno pogodan za prilagođavanje različitim sredinama i vremenima, kao i za preispitivanje različitih društvenih normi.Authors have throughout history shown a tendency to revive the archetypal literary heroes Odysseus and Penelope. Homer constructed in his Odyssey a marital relationship which is based on mutual respect, understanding and love, while confirming family as the central social unit. The relationship between Odysseus and Penelope is therefore presented as the ideal human relationship, especially between a male and a female partner. The motif underwent major changes in different literary periods and acquired elements specific to each period, which is most visible in contemporary drama where it shows elements of Modernism and Postmodernism. None the less, the connection to war and post-war periods remains present. The aim of this work is to analyze contemporary European adaptations of the motif of Odysseus and Penelope in drama, while observing them through the matrix of most important values presented in the Odyssey and with respect to the ideas and principles that shaped the contemporary point of view. First and foremost this refers to the Psychoanalytic and Feminist theory. The analyses in question include ten different dramas, dating from the beginning of the 20th century until today, which affirms the topicality of the motif as well as its capacity for variation. Each of the included dramas enriched the European literature of the period it had emerged from and gave its special contribution to the overall motif. The analyses show a double tendency. In the first part of the 20th century, during the period of Modern literature, a span of dramas emerged that offered an interpretation from an exclusively male point of view, as a result of which Penelope became a secondary character or appeared only as a male construction of the female. The focus shifts drastically from Odysseus to Penelope in Postmodernist literature, as the authors try to emancipate their heroine showing her at least equal to, if not even more powerful than her male partner. In both cases one of the results of the motif’s adjustment to contemporary literature is that apart from Strauß’s Ithaka, all dramas fail to fulfil the mythological structure due to socially conditioned obstacles. Nevertheless, the significant number of existing dramas, as well as the manner in which they are shaped, prove that the motif is topical because it examines the elementary social relationship between a man and a woman, whether these poles are considered as psychological or biological categories. The motif proves adequate to be adapted to different settings, as well as to question diverse social norms

The motif of Odysseus and Penelope in contemporary european drama

Odisej i Penelopa književni su arhetipovi koje autori kroz povijest uvijek rado oživljavaju. Homer je u Odiseji postavio osnove bračnog odnosa koji se temelji na međusobnom podupiranju, razumijevanju i ljubavi, a u isto vrijeme potvrdio obitelj kao središnju jedinicu društva. Odnos Odiseja i Penelope prema tome predstavlja ideal međuljudskih odnosa, a osobito muško-ženskog. Motiv se razvija i mijenja kroz povijest, a osobito je to vidljivo u suvremenoj drami u kojoj poprima specifične moderne i postmoderne elemente. Pritom treba napomenuti da do danas ostaje karakteristična povezanost motiva uz ratno ili poslijeratno razdoblje. Ovaj rad ima za cilj proučiti suvremene europske adaptacije motiva Odiseja i Penelope u drami, promatrajući suvremene varijante kroz matricu postavljenu od najznačajnijih vrijednosti koje prenosi ep, ali i poštujući ideje i načela koja su oblikovala suvremenu misao. Prije svega se to odnosi na psihoanalitičku i feminističku teoriju. Analizirano je deset drama u vremenskom slijedu od početka 20. stoljeća do danas, čime se potvrđuje aktualnost motiva kao i činjenica da je pogodan za varijacije. Svaka od tih drama značajno je doprinijela obogaćenju europske književnosti razdoblja u kojem je nastala te ujedno dala poseban doprinos proučavanom motivu. Analize pokazuju dvojaku tendenciju. U prvom dijelu dvadesetog stoljeća, tijekom moderne, pojavljuje se niz drama koje motiv interpretiraju isključivo iz muškog stanovišta pri čemu lik Penelope pada u drugi plan ili se nadopunjuje muškim vizijama ženstvenosti. U postmoderni se fokus naglo pomiče s Odiseja na Penelopu, pri čemu i muški i ženski autori pokušavaju emancipirati junakinju, prikazujući ju u najmanju ruku po svemu ravnopravnu, ako ne i snažniju od njenog muškog partnera. U oba je slučaja jedan od ishoda osuvremenjivanja motiva činjenica da s iznimkom Straußove Ithake sve drame nailaze na društveno uvjetovane prepreke koje onemogućavaju ponavljanje starogrčkog mita. Unatoč tome, značajan broj postojećih drama, kao i načini na koje ih autori oblikuju, dokazuje da je motiv aktualan jer tematizira osnovni društveni odnos muško-žensko, neovisno o tome gleda li se na njegove polove kao psihičke ili biološke kategorije te je ujedno pogodan za prilagođavanje različitim sredinama i vremenima, kao i za preispitivanje različitih društvenih normi.Authors have throughout history shown a tendency to revive the archetypal literary heroes Odysseus and Penelope. Homer constructed in his Odyssey a marital relationship which is based on mutual respect, understanding and love, while confirming family as the central social unit. The relationship between Odysseus and Penelope is therefore presented as the ideal human relationship, especially between a male and a female partner. The motif underwent major changes in different literary periods and acquired elements specific to each period, which is most visible in contemporary drama where it shows elements of Modernism and Postmodernism. None the less, the connection to war and post-war periods remains present. The aim of this work is to analyze contemporary European adaptations of the motif of Odysseus and Penelope in drama, while observing them through the matrix of most important values presented in the Odyssey and with respect to the ideas and principles that shaped the contemporary point of view. First and foremost this refers to the Psychoanalytic and Feminist theory. The analyses in question include ten different dramas, dating from the beginning of the 20th century until today, which affirms the topicality of the motif as well as its capacity for variation. Each of the included dramas enriched the European literature of the period it had emerged from and gave its special contribution to the overall motif. The analyses show a double tendency. In the first part of the 20th century, during the period of Modern literature, a span of dramas emerged that offered an interpretation from an exclusively male point of view, as a result of which Penelope became a secondary character or appeared only as a male construction of the female. The focus shifts drastically from Odysseus to Penelope in Postmodernist literature, as the authors try to emancipate their heroine showing her at least equal to, if not even more powerful than her male partner. In both cases one of the results of the motif’s adjustment to contemporary literature is that apart from Strauß’s Ithaka, all dramas fail to fulfil the mythological structure due to socially conditioned obstacles. Nevertheless, the significant number of existing dramas, as well as the manner in which they are shaped, prove that the motif is topical because it examines the elementary social relationship between a man and a woman, whether these poles are considered as psychological or biological categories. The motif proves adequate to be adapted to different settings, as well as to question diverse social norms

Suspension of boundaries: transdifferentiation in Vilma Vukelić’s memoirs. A contribution to the retention of Austrian literature and culture in post-1918 Croatia

The memoirs of the Croatian-Austrian author Vilma Vukelić capture the identity of the city of Osijek at the turn of the 19th and the 20th centuries, as well as the personal identity of the author, who is first portrayed as a child and then as a young girl, Vilma. Earlier analyses of the text were based on multicultural perspectives which provide only a superficial insight into the complex processes of identity formation as it is described in Tragovi prošlosti (the original title: Spuren der Vergangenheit). The article thus presents the culturalist concept of transdifference developed by Breinig and Lösch. The core of the concept is a process of identity formation which flows through differences while suspending the imposed binary structure, without revoking them. The method has proved to be effective and brought a new perspective on belonging and alterity in the multicultural imperial setting

Antipoetika Ivane Sajko: Što ludilo, revolucija i pisanje imaju zajedničko?

Ivana Sajko is a young Croatian author (1975) whose theatre work is ascribed by contemporary anthologists to the so-called new Croatian drama (Rafolt 9). Leo Rafolt observes that, if such a notion can be recognized at all, its main features would include the authors’ experimental and destructive attitude towards conventional modes, as well as an increasing thematic occurrence of violence in written texts and on stage (9), thus making the new Croatian drama similar to the in-yer-face dramaturgy. The paper provides an overview of ideas which seem to prevail throughout Ivana Sajko’s theoretical and dramatic work, some of which represent an original and very personal approach to theatre and playwriting. In addition to this, the analysis of Sajko’s trilogy Archetype: Medea, Bomb-Woman, Europe in this paper will show Sajko’s perception and understanding of madness, revolution and limits of art, more precisely, writing through the female characters in these three monodramas

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