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1
Datan, Nancy. « The Oedipus Cycle : Developmental Mythology, Greek Tragedy, and the Sociology of Knowledge ». International Journal of Aging and Human Development 27, no 1 (juillet 1988) : 1–10. http://dx.doi.org/10.2190/xap9-uqp1-rnmw-v7r8.
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The Oedipus complex of Freud is based on the inevitability of the tragic fate of a man who fled his home to escape the prophecy of parricide. Thus, he fulfilled it by killing a stranger who proved to be his father. As Freud does, this consideration of the tragedy of Oedipus takes as its point of departure the inevitability of the confrontation between father and son. Where Freud looks to the son, however, I look to the father, who set the tragedy in motion by attempting to murder his infant son. Themes ignored in developmental theory but axiomatic in gerontology are considered in this study of the elder Oedipus. The study begins by noting that Oedipus ascended the throne of Thebes not by parricide but by answering the riddle of the Sphynx and affirming the continuity of the life cycle which his father denied. In the second tragedy of the Oedipus Cycle of Sophocles, Oedipus at Colonus, this affirmation is maintained. As Oedipus the elder accepts the infirmities of old age and the support of his daughter Antigone, Oedipus the king proves powerful up to the very end of his life when he gives his blessing not to the sons who had exiled him from Thebes, but to King Theseus who shelters him in his old age. Thus, the Oedipus cycle, in contrast to the “Oedipus complex,” represents not the unconscious passions of the small boy, but rather the awareness of the life cycle in the larger context of the succession of the generations and their mutual interdependence. These themes are illuminated by a fuller consideration of the tragedy of Oedipus.
2
Septiani, Resti Maudina, et Rika Handayani. « Intertextual Analysis of Ayu Utami’s Cerita Cinta Enrico, Indonesian Legend Sangkuriang (Tangkuban Perahu), and Greek Mythology Oedipus ». Andalas International Journal of Socio-Humanities 6, no 1 (29 juin 2024) : 61–68. http://dx.doi.org/10.25077/aijosh.v6i1.60.
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This article is designed to offer comprehensive analyses of characterizations, plot, setting, intertextual relationships, and hypogram of Cerita Cinta Enrico, the folklore of Sangkuriang (Tangkuban Perahu), and the myth of Oedipus. Qualitative descriptive method is used along with intertextual approach. Based on the analysis of the data, the results are: (1) the three stories analyzed employ the main character as their title; (2) the three of them use the traditional plot and flashback; (3) all of them address Oedipus complex issue; (4) Sangkuriang (Tangkuban Perahu) and Oedipus are the hypograms of Cerita Cinta Enrico.
3
Showerman, Earl. « A Century of Scholarly Neglect : Shakespeare and Greek Drama ». Journal of Scientific Exploration 37, no 2 (11 août 2023) : 201–17. http://dx.doi.org/10.31275/20233109.
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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.
4
Caplan, Debra. « Oedipus, Shmedipus : Ancient Greek Drama on the Modern Yiddish Stage ». Comparative Drama 44, no 4 (2010) : 405–22. http://dx.doi.org/10.1353/cdr.2010.0011.
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Retno Martini, Laura Andri. « Oedipus Sang Raja dan Bujang Munang : Mitos Peletak Dasar Larangan Incest dalam Masyarakat ». Nusa : Jurnal Ilmu Bahasa dan Sastra 13, no 1 (28 février 2018) : 36. http://dx.doi.org/10.14710/nusa.13.1.36-45.
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Folklore is a story of the past that characterizes every nation with its diverse cultures, including the rich culture and history of each nation. The folklore that tells incest is found all over the world. In almost all ethnic groups there is an incest first mythology. Versions are submitted vary, depending on the social life of the community. Bujang Munang and Oedipus are cultural myth stories that have the theme of the origin of the incest ban. Oedipus is a myth that developed in Greece while Bujang Munang is a myth that developed in Nanga Serawai Santang district of West Kalimantan. There is a linkage of the basic structure of the narrative in the story of Oedipus and Bujang Munang. Incest behavior is also not allowed to occur in the norms of life of Greek society and the people of West Kalimantan. There will be unfavorable consequences for incest and surrounding people if the rule is violated.
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Fitch, John, et Siobhan McElduff. « CONSTRUCTION OF THE SELF IN SENECAN DRAMA ». Mnemosyne 55, no 1 (2002) : 18–40. http://dx.doi.org/10.1163/156852502753776939.
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The characters of Senecan tragedy are more inward-looking than those of Greek tragedy. One aspect of their inwardness lies in their fierce attempts to define and assert identities for themselves, through their names, actions, family history, mythical precedents, social roles etc. These self-assertions are driven by desire in many forms, chiefly desire for recognition by others, and are closely connected with the tragic outcomes of the dramas. One section of the article is devoted to Oedipus, who insists on identifying with his guilty deeds despite his innocence of intention; another to Phaedra, who has multiple versions of herself and cannot choose between them.
7
Roselli, D. K. « The Work of Tragic Productions : Towards a New History of Drama as Labour Culture ». Ramus 42, no 1-2 (2013) : 104–21. http://dx.doi.org/10.1017/s0048671x00000096.
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The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some respects laid the foundation for subsequent theorising of the political subject.Given the importance placed on such figures as Sophocles’ Oedipus and Antigone starting with Schelling and Hegel, it is perhaps not surprising that recent work in critical theory has tended to recast these particular tragic figures in its critique of Enlightenment thought. Nonetheless, there are problems with the adoption of these figures as paradigms through which tragedy becomes a tool to represent the ancient Greek polis and to work through modern political and ethical problems. The repeated returns to certain aspects of Oedipus or Antigone have contributed to a structured silence around the issue of class relations. Along with the increasingly dominant role of neoliberalism and the continuing importance of identity politics, much recent critical theory has contributed to the occlusion of class and labour from public discourse and academic research. In such a climate, it is no wonder that historical materialism rarely figures in academic works. I wonder whether another narrative is possible through the study of Greek tragedy.
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Okari Onkoba, Stephen, Albert Mugambi Rutere et Nicholas Goro Kamau. « Confluence of Kinship and Divinity in Ola Rotimi’s The Gods Are Not to Blame and Sophocles’ Oedipus the King and Oedipus at Colonus ». March to April 2022 3, no 2 (30 avril 2022) : 102–9. http://dx.doi.org/10.46606/eajess2022v03i02.0164.
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Blood and affinal ties are central in any discourse on kinship. This paper grapples with representation of kinship ties within a spiritual matrix envisioned in the dramaturgy of Ola Rotimi and Sophocles. The Gods Are Not to Blame being an adaptation of Sophocles’ Oedipus the King whose storyline is continued in Oedipus at Colonus, makes it possible for the article to explore the interplay between divinity and kinship in the milieus reflected in ancient Greek and African societies. Whereas previous scholars have majorly focused on consanguinity to make sense of kinship affiliations, this article examines how Greek and African notions of spirituality impact on affinal relationships depicted in Rotimi and Sophocles’ drama. The interrogation is conducted by examining the effect of divinity on kinship from the dimension of in-laws and wives. The analysis of the three plays hinges on psychoanalytic literary theory. The paper concludes that while the involvement of the divine in human relationships enhances affinal ties, it also contributes to their disintegration when divine-centrism supersedes communitarian interests.
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Gilula, Dwora. « The First Greek Drama on the Hebrew Stage : Tyrone Guthrie's Oedipus Rex at the Habima ». Theatre Research International 13, no 2 (1988) : 131–46. http://dx.doi.org/10.1017/s0307883300014437.
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On the Hebrew Stage, Greek and Roman drama was never a first priority, The Habima Theatre, from its inception in 1917 to the present day, staged only six classical productions (out of more than four hundred), the Cameri Theatre – four, the Haifa Municipal Theatre – five, the Ohel theatre, in all of its forty-four years of activity (1925–69), although it staged 163 plays, never found the need or drive to produce a Greek or a Roman drama, and the young Beer-Sheba Theatre, the last addition to Israel's theatrical establishment, although daring and innovative, has yet to venture into the classical world. The reasons are not far to seek, and there are weighty local reasons in addition to the general cultural factors, which have contributed to the scarcity of classical drama productions. Hellenism and Hellenization, according to the view held even today by some educated and secular Israelis, are not neutral entities. The terms themselves are polemic, connote cultural assimilation, and stand for departure from national Jewish values and the forfeit of cultural originality and independence. From the times of the Hebrew Enlightenment movement, however, classical languages and culture became an integral part of the curriculum of Jewish studies even in religious institutions of higher learning, such as the Bar-Ilan University. On the other hand, as a reaction to the classical culture becoming an embodiment of secular, anti-clerical Zionist renaissance, the extreme Orthodox establishment in contemporary Israel has continued to treat it as a dangerous desecration and even extended the derogatory use of the term ‘Hellenization’ to cover the entire Western cultural influence. As a result until today classical literature has only a marginal place in the high-schools' curriculum, it is not an immediate, and certainly not the most important source from which Hebrew writers and playwrights draw their inspiration, and even well educated spectators have at best only a very superficial knowledge of the classical heritage. The few classical plays produced on the Hebrew stage were chosen at random, chiefly because leading or popular directors insisted on directing a certain play, or because a play, which achieved success in Europe, was transplanted lock, stock and barrel to Israel, sometimes together with its director.
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Ley, Graham. « On the Pressure of Circumstance in Greek Tragedy ». Ramus 15, no 1 (janvier 1986) : 43–51. http://dx.doi.org/10.1017/s0048671x0000343x.
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It is an unfortunate weakness of most of the standard textbooks on Greek tragedy that they fail to communicate the immediacy of pressure that is of its essence. This particular inadequacy has hardly been corrected by the recent spate of books on either staging or the visual presentation of plays, which suggest themselves now as the standard adjustment to existing handbooks for students with or without the language.One of the few certainties we have, in beginning the argument, is that tragedy is, if anything, about decisions and their consequences. This much is implied in Aristotle's intuition about hamartia, which if it means ‘mistake’ can be taken to direct attention to the circumstances which dictate a decision. Indeed, decisions are far more prominent in Attic tragedy than mistakes as such: to take two examples from the Oresteia, which as an Aeschylean trilogy should not seem so exceptional as people are inclined to make it, both Agamemnon and Orestes take decisions of terrifying consequence that can hardly be classed as ‘mistakes’ (namely to kill a daughter and to kill a mother, Iphigenia and Clytemnestra in Agamemnon and Libation Bearers respectively). In this respect, Aristotle might be taken as considering more closely the sentimental drama that flourished in his day, and in this, if we judge by his perceptions, it may well be that Oedipus the King of Sophocles in fact marks a turning-point—in the desperate futility of Oedipus' errors—which is more readily, and perhaps with less justice, ascribed to Euripides.
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De Chiara-Quenzer, Deborah. « Commentary on Pappas ». Proceedings of the Boston Area Colloquium of Ancient Philosophy 32, no 1 (25 juillet 2017) : 59–65. http://dx.doi.org/10.1163/22134417-00321p06.
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This commentary on Nicholas Pappas’s paper, “Telling Good Love from Bad in Plato’s Phaedrus,” reflects on a number of Pappas’s thoughtful observations and interpretations of features woven into the drama of the discussion (for example, Typho and Boreas, wings, left and right). However, unlike Pappas, who refrains from claiming that divinely inspired human love (good love) can be discerned by turning to the earthly, this commentary suggests that Pappas’s contrasts of wings which conceal versus wings which elevate, of left and right, and my added contrast of traditional Greek mythology versus Platonic mythology, lay the groundwork to discern the divine in the earthly, and to distinguish concomitantly bad from good human love. Additionally, the commentary discusses how Plato’s use of collection and division is used to distinguish good and bad human love.
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Aboelazm, Ingy. « Africanizing Greek Mythology : Femi Osofisan’s Retelling of Euripides’the Trojan Women ». European Journal of Language and Literature 4, no 1 (30 avril 2016) : 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.
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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Foley, Helene. « Classics and Contemporary Theatre ». Theatre Survey 47, no 2 (12 septembre 2006) : 239–44. http://dx.doi.org/10.1017/s0040557406000214.
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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Tiedemann, Rolf. « The Women of Trachis Jealousy, Hatred and Revenge in Sophocles&apos ; Tragedy Intrafamilial Marriage and the Husbands&apos ; Widow's Wills the Famous Oracle ». American Journal of Applied Psychology 13, no 1 (21 février 2024) : 9–19. http://dx.doi.org/10.11648/j.ajap.20241301.12.
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In this tragedy by Sophocles, the real theme is the treatment of "prey women" and their influence on the psychological family situation and society in classical Athens. "The Women of Trachis" as well as "Oedipus Rex" and "Oedipus on Colonus" show what an enormously perceptive, in today's terms, psychologist and sociologist Sophocles was. In the fifth century BC, many wars were waged in Greece and prisoners were turned into slaves. Classical Greece thrived on slavery, which also included so-called prey woman. In The Women of Trachis Sophocles describes the jealousy of a wife, with the resulting actions, when the marriage is overstretched and the jealousy is increased through corresponding insults (over the decades). How hatred and revenge then gain the upper hand, ultimately leading to death. The intra-family marriage policy in Athens, which often leads to emotional and social unhappiness, is also a clear theme in the "Women of Trachis", long before Sophocles' two Oedipus tragedies. In his tragedies, Sophocles dealt with sociological themes and human suffering. The poets changed the mythology according to the requirements of their desired intention of the tragedy. The transformation of the myth consists in its integration into the polis and its new reference systems. The fact that the tragic poet sets the problems of his time in a past contributes to the possibility of the tragedy's reception. In the tragedies Oedipus Rex and Oedipus at Colonus, for example, a reference to the social reality in Athens at the time is assumed. The tragedies that were performed at the Dionysia (festival) are characterized by an interpenetration of present and past. Tragedies were organized as competitions, so that the poets had to take the audience's sensitivities into account. Classical philologists are often prevented from producing realistic text analyses and interpretations by idealizing and glorifying Greek tragedies and thus not taking into account the social customs and laws of the time. If we think, that the Greeks had no interest in such a psychological process as how a decision comes about, we are seriously mistaken and we do not do justice to the great, psychologically astute tragedians. Without a sociological, psychological and medical approach, applied to the tragedies that contain such themes in Sophocles and also Euripides in excellent execution, we will not do justice to these brilliant poets. We are left with interpretations without a sociological and psychological understanding of Greek classicism.
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Barbosa, Tereza Virginia Ribeiro. « Édipo zorro / Oedipus the Fox ». Caligrama : Revista de Estudos Românicos 25, no 2 (16 septembre 2020) : 149. http://dx.doi.org/10.17851/2238-3824.25.2.149-165.
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Resumo: O artigo se dedica a recortar trechos da peça Οἰδίπους τύρρανος, de Sófocles, aqui traduzida como Édipo zorro, e traduzi-los. O leitmotiv que dirige a seleção é o enfrentamento de Édipo, é de difícil tradução. Sófocles explora a potência dos sentidos lexicais e sintáticos da língua grega ao máximo, a começar pelo título que chegou até nós para a peça – que daria um tratado – se o focalizarmos apenas com o adjetivo (que não é adjetivo, mas substantivo utilizado como adjetivo) τύρρανος. A tradução Édipo Rei é neutralizante; a tradução Édipo Tirano é tendenciosa, capciosa e política demais para um termo que poderia ser traduzido de outras formas, entre as quais a que escolhemos. Por sua vez, o nome próprio Édipo, etimologicamente, suscita variações incríveis e pertinentes se optamos por traduzi-lo. O artigo não pretende discutir filologia nem literatura a fundo, vamos apenas, com uma proposta de tradução, mostrar a pertinência do Édipo para o Brasil em pandemia.Palavras-chave: tragédia; governança; responsabilidade; peste; tradução.Abstract: The article aims at selecting excerpts from Sophocles’ play Oedipus Tyrannus, starred here as Oedipus the fox, and translating them. The leitmotiv that directs the selection is the confrontation of the plague by the ruler. As it is well known, the Sophoclean text, and particularly that which refers to the drama of Oedipus, is difficult to translate. Sophocles uses the power of the lexical and syntactic meanings of the Greek language to the maximum, starting with the title that came to us for the play - which would give a treatise - if we focus on it only with the adjective (which is not an adjective, but a noun used as an adjective) τύρρανος. The Oedipus king translation is neutralizing; the Oedipus tyrant translation is too biased, too captious, and too political for a term that could be translated in other ways such as the one we chose. In turn, the word Oedipus, etymologically, gives rise to incredible and pertinent variations if we choose to translate it. The article does not intend to discuss philology nor literature in depth, I will just go with a translation proposal to show the relevance of Oedipus for Brazil in a pandemic.Keywords: tragedy; governance; responsibility; plague; translation.
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Kim, Gongsook. « The Archetype of Femme Fatale Character in K-drama : Focusing on the Heroine of Misty ». Korean Society of Culture and Convergence 45, no 4 (30 avril 2023) : 291–308. http://dx.doi.org/10.33645/cnc.2023.04.45.04.291.
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The archetype of the femme fatale character of Go Hye-ran, the heroine of the K-drama Misty, was analyzed by applying the Greek mythology archetype theory of the Jungian School of Bolen and the discussion of the femme fatale character in literature. A femme fatale is a female type that maximizes the negative aspects of the archetype of the goddess Aphrodite. Misty shows the tragedy that can happen when an goddess Aphrodite-archetypal woman rushes for her desire through the modern success-oriented femme fatale Go Hye-ran. She reproduces the archetype of femme fatale as a beautiful and menacing villainess, an unknown woman wrapped in a veil, and the incarnation of narcissistic desire. The femme fatale's counterpart is an immature and weak male type. Lee Jae-young is analyzed as the archetype of Ares, the goddess Aphrodite's lover, Myung-woo Ha as the archetype of Hephaestus, the husband chosen by Aphrodite, and Tae-wook Kang as the archetype of Apollo. Go Hye-ran can be said to be a true femme fatale in K-drama, which completed Misty as an archetypal drama by embodying femme fatale characters in myths and classics in a modern way.
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Luton, Jane Isobel, et Jacqueline Hood. « A Sisyphean task ? Doing drama online with Year 9 students in a COVID-19 lockdown ». Teachers and Curriculum 22, no 1 (3 août 2022) : 39–45. http://dx.doi.org/10.15663/tandc.v22i1.385.
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Using the allegory of Sisyphus from ancient Greek mythology, we examine the problems that arose while teaching Year 9 drama classes online during the COVID-19 pandemic lockdowns in Aotearoa, New Zealand. At times we have felt like Sisyphus, forced to push a boulder uphill forever. We became adept at using the school’s chosen online platform, in this case, Microsoft Teams. For all teachers, this meant that students were no longer in an actual classroom with their peers but met in a virtual space as a series of little icons on a screen. For drama, this disrupted the very essence of the praxis. Drama is, at its heart, an embodied, interactive “subject”, requiring collaboration, cooperation and participation. Like Sisyphus, we have, at times, felt the task of teaching drama cannot be truly accomplished. In this article, we focus specifically on the Year 9 drama students, the youngest year group at secondary colleges in New Zealand. They are part of the generation defined as Gen Z (Beresford Research, 2022), “digital natives who have little or no memory of the world as it existed before smartphones” (Parker & Igielnik, 2020., para. 4). We compare the expectations and interactions of a traditional drama classroom with those online. We explore the approaches we took to encourage student participation in this new forum, trying to find dramatic strategies to mitigate some of the problems that arose. We discuss the consequences and outcomes of teaching drama remotely. Unlike Sisyphus, can we learn from successes and failures, or are we as drama teachers doomed forever to roll a large rock uphill?
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Kulishova, Oksana. « Traditions and Interpretations of the Ancient Theater in Post-Revolutionary Petrograd ». ISTORIYA 14, no 2 (124) (2023) : 0. http://dx.doi.org/10.18254/s207987840024511-1.
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The attention to the ancient drama characterized European culture at the turn of the 19—20th centuries was reflected in Russia in the search for new forms in theatrical art both at the very beginning of the 20th century and after the events of 1917. The author focuses on the most remarkable performances of Sophocles’ Oedipus Rex in 1910s in St. Petersburg/Petrograd at the Ciniselli Circus: in 1911 this Greek tragedy was staged by the famous German director Max Reinhardt, and in 1918 renewed by the famous Russian actor Yury Yuriev. The analysis of the important sources — the memoirs of participants and eyewitnesses of these performances, reviews and various publications in theater magazines, as well as surviving archival materials, etc. — makes it possible to trace the features of the interpretation and reception of this tragedy, which was especially consonant with the turbulent era of world cataclysms and wars.
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ШУЛЬЦ, СЕРГЕЙ. « Мотивы древнегреческой мифологии в повести Гоголя Вий ». Studia Slavica Academiae Scientiarum Hungaricae 64, no 1 (juin 2019) : 171–83. http://dx.doi.org/10.1556/060.2019.64113.
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The facts of Gogol's appeal to the models of classical forms of myth and ritual are interesting not only by themselves but also in the aspect of their relationship with the arsenal of Christian mythology. The fundamental point here is that in light of the historical interpretation of the myth and the Revelation by F. W. J. Schelling, the mythology since its initial stage organically developed to Christianity, to the truths of Revelation (as the historical movement “flowed” into them). The symbolic complex of the story Vij, interlacing with Eros and Thanatos, allows parallels to the myth of Orpheus and Eurydice since in the case of the story Vij and in the case of myth, the motive of prohibition on sight also holds. The philosopher (i.e. the poet in the archaic and romantic notion) Homa Brut comes into contact with the world of death not of his own free will, besides, the panicle Eurydice died because of him. Orpheus partakes of the Dionysian sacraments. A visit to Orpheus of hell equated him, in Christian understanding, with Christ. In Gogol's story Vij, Dionysus and Christ have implicitly come together. The motive of the story Vij for blindness is related to Oedipus's self-blindness motive. Mythological Erinnes, persecuted by Oedipus, are old women, which correlates with one of the chthonic incarnations of the plaque, thereby drawing closer to the goddesses of revenge, punishment, and remorse of conscience. The fact of the final recognition of Oedipus as “holy” is reflected in the potential Christian semantics of the image of Homa as a martyr and passion-bearer. As the winner of the witch, the deliverer of people from her misfortunes and the passion bearer Homa is a Christian ascetic. Against the background of Christian parallels, the second stay of Homa on the farm becomes as if his “second coming”, symbolically comparable to the expected second coming of Christ, who is coming all the time. The terrible glance of Vij and pannochka certainly reminds of the slaying glance of Medusa Gorgon, which forced all living things to petrify. There is pathos of fighting tyranny in ridding the farm from the witch by Homa. Although Homa defends himself first of all in the beating scene, the general social meaning of his action is obvious. The power of the pannochka (she is the daughter of a wealthy sotnik), who for some reason considers himself pious, is not only socio-political but, in the main, existential-anthropological, this domination over man as a species, over man as such. The motives of ancient Greek and in general pagan mythology are closely intertwined in Gogol's story with Christian motives, which formed the unique spiritual and aesthetic synthesis of the story Vij.
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Śmiechowicz, Olga. « Pure Propaganda or Great Art, Patriotism and Civic Engagement ? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies ». Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no 2 (15 décembre 2019) : 5–16. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.1.
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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.
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Mostafa Hussein, Wafaa A. « Freedom as the Antithesis of Commitment in Jean-Paul Sartre’s The Flies (Les Mouches) ». International Journal of Linguistics, Literature and Culture 8, no 2 (30 juin 2021) : 1–17. http://dx.doi.org/10.19044/llc.v8no2a1.
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In the mid of the twentieth century, French Existentialism was a predominant doctrine that significantly enriched and influenced the literary scene in Europe during the Post-War area. Jean-Paul Sartre (1905-1980), the founder of Existentialism, is both a professional philosopher and a talented man of letters whose literary achievements represent a declarative embodiment of his Existentialist philosophy. In his 1943 drama, The Flies (Les Mouches), Sartre puts the Greek myth into a drastically innovative structure, where contemporary issues and values are presented through classical outlines. The current study aims to present a critical analysis of Sartre's depiction of the Electra/Orestes myth in The Flies through demonstrating how Greek mythology becomes an essential substructure of the play's Existentialistic framework, on the one hand, and questioning the credibility of the Sartrean concept of freedom and commitment, as illustrated in the play, on the other hand. The study utilizes the Existentialist philosophy as a theoretical framework in order to elucidate that the Sartrean conception of freedom and commitment is paradoxically antithetical. The research investigates how Orestes has been theoretically free and the extent to which he strives, throughout the drama, to transform this abstract freedom into a concrete experience by committing himself to a specific action: murdering Aegisthus and Clytemnestra. However, as the study proves, this Existentialist freedom becomes an illusion in the sense that Orestes' commitment to the Argives makes him a captive of society; by choosing commitment, he dismisses his freedom. The researcher has chosen "Freedom" and "Commitment" as the main topic of the present study in order to expose Sartre's existentialistic awareness of modern human beings' dilemma under the influence of all forms of aggression and highlight the discrepancy between theoretical philosophy and real-life experiences. The study adopts an interdisciplinary analytical approach where myth, philosophy, and drama are dovetailed and fused in order to expand the scope of the analysis.
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Kumukova, Dzhamilya. « Strindberg’s A Dream Play and Gumilyov’s Allah’s Child. A mystery plot ». Scandinavian Philology 20, no 2 (2022) : 311–27. http://dx.doi.org/10.21638/11701/spbu21.2022.206.
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Тhe article explores the issue of implementation of a mystery plot in the dramaturgy of the turn of 19th–20th centuries. Within the aspect of the given topic, two plays are considered — A. Strindberg’s drama A Dream Play, and N. S. Gumilyov’s fairy tale Allah’s Child. It is an attempt to demonstrate that in these works one can find the same plotline, which can be traced back to the myth of Persephone. With various interpretations still around as to the content of the ancient Greek mystery, is can generally be acknowledged that the myth comprised the foundation of the sacred action at Eleusis; the debate only concerns its “stage” adaptation. At the turn of 19th–20th centuries, the story of Persephone is already creating its own, new myth about the trials of a wandering soul on the path of knowledge. In Strindberg’s and Gumilyov’s plays, the soul (Persephone) is played by a divine being: in A Dream Play it is the daughter of god Indra of ancient Indian mythology, and in Allah’s Child it is the daughter of a god from the mythology of peoples of Central and Minor Asia. Both heroines go through a hard path of earthly sorrows, and in the denouement return to the divine world. This plot structure, which mirrors the development of an ancient mystery, both playwrights — Swedish and Russian — introduce the Poet as a character. In both A Dream Play and Allah’s Child the Poet becomes an intermediary between the earthly and divine lives, bridging the gap between those worlds, and, in essence, acting as Dionysus. The general trend, whereby the dramaturgy of “the turn” looked back to ancient mythology, speaks to the ongoing process of myth structuring, as it acquires new meaningful layers.
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Ermolaeva, Nina L. « From the ancient Greek myth to the Russian literary archetypes in I.A. Goncharov’s novels ». Literature at School, no 5, 2020 (2020) : 35–50. http://dx.doi.org/10.31862/0130-3414-2020-5-35-50.
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The article deals with the mythological sub-text as one of the connective means in the novel trilogy by Goncharov. The author of the article assumes that the creative thinking of Goncharov’s is epic and his understanding of world literary types can be seen as the basis for the theory of literary archetypes. The novelty of the approach to the sources is justified by the aim of the article, the latter being to show the reflection of the evolution of the author’s mythological thinking in his creating the literary archetypes by using various mythological and folk sources. Analysis of the mythological sub-text in the novel “A Common Story” allows to say that the author applied mainly the European tradition of the ancient myths, namely the myth of Oedipus to the modern life in Russia. Viewing “Frigate ‘Pallada’ ” the author of the article concludes that Goncharov returned from the world-wide journey “more Russian” than he had been before. Thus in the novels “Oblomov” and “The Precipice” he used not only the European cultural tradition but also the Slavonic mythology and Russian folklore. The result of his turning to the fairy-tale and Russian literature was the appearance of the archetype images of Oblomov and oblomovism and that of gown in his creative work. “The bylina sub-text” in the novel “The Precipice” helps to understand the rivalry of the atheist Mark Volokhov with the proponent of “the old truth” Tushin as the fight of the Russian epic hero with the serpent. The analysis of Goncharov’s articles of 1870s allows one to see his wish to create the archetype images of the characters from the Russian life. Arguing with A.I. Zhuravleva’s opinion that Goncharov did not manage to fulfill this task in “The Precipice”, the author of the article proves that the image of grandmother has come into the national consciousness as an archetype. It has direct connection with the archetype of the village that came into being in the Russian literature of XIX–XX centuries.
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Vasiliu, Laura Otilia. « Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia] ». Artes. Journal of Musicology 19, no 1 (1 mars 2019) : 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.
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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.
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Voss, Daniela. « Deleuze's Third Synthesis of Time ». Deleuze Studies 7, no 2 (mai 2013) : 194–216. http://dx.doi.org/10.3366/dls.2013.0102.
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Deleuze's theory of time set out in Difference and Repetition is a complex structure of three different syntheses of time – the passive synthesis of the living present, the passive synthesis of the pure past and the static synthesis of the future. This article focuses on Deleuze's third synthesis of time, which seems to be the most obscure part of his tripartite theory, as Deleuze mixes different theoretical concepts drawn from philosophy, Greek drama theory and mathematics. Of central importance is the notion of the cut, which is constitutive of the third synthesis of time defined as an a priori ordered temporal series separated unequally into a before and an after. This article argues that Deleuze develops his ordinal definition of time with recourse to Kant's definition of time as pure and empty form, Hölderlin's notion of ‘caesura’ drawn from his ‘Remarks on Oedipus’ (1803) and Dedekind's method of cuts as developed in his pioneering essay ‘Continuity and Irrational Numbers’ (1872). Deleuze then ties together the conceptions of the Kantian empty form of time and the Nietzschean eternal return, both of which are essentially related to a fractured I or dissolved self. This article aims to assemble the different heterogeneous elements that Deleuze picks up on and to show how the third synthesis of time emerges from this differential multiplicity.
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Braund, Susanna. « TABLEAUX AND SPECTACLES : APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES ». Ramus 46, no 1-2 (décembre 2017) : 135–52. http://dx.doi.org/10.1017/rmu.2017.7.
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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.
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Koci, Katerina. « Whose Story ? Which Sacrifice ? On the Story of Jephthah’s Daughter ». Open Theology 7, no 1 (1 janvier 2021) : 331–44. http://dx.doi.org/10.1515/opth-2020-0167.
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Abstract The story of Jephthah and his daughter (Judg. 11:29–40) is a peculiar and problematic text. This article explores the question of the accountability for the sacrificial act with which the story culminates, and which provokes sharp disapproval in certain quarters, especially because of its gender bias. Applying the hermeneutical framework of René Girard and his distinction between sacrifice in Greek mythology (divinity in charge) and sacrifice in Judeo-Christian revelation (everyone responsible for his/her actions), I investigate the question: Is Jephthah’s daughter a mute puppet in a drama staged by her tyrannical father, or perhaps fate, or is she rather a woman who is responsible for her own actions and accountable only to herself? The answer is twofold: she is a woman fully responsible for herself; however, the responsibility for her premature and violent death is shared by her father, herself, and the biblical author–redactor. After identifying Jephthah’s daughter as a person responsible for her own actions, I aim to overcome the dialectic of “the text of terror” (post-structuralist interpretation) and the search for “herstory” (neoliberal interpretation). I suggest that in her powerlessness against patriarchal tyranny, Jephthah’s daughter nonetheless exerts power and authority in condemning the existing power structures. Without approving any form of sacrifice, reading the story through a lens of powerful powerlessness can help us discern different forms of power and, ultimately, reject the aggression and violence that has dominated our world to this very day.
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Solovyov, A. V. « Hero’s Journey in Korean Confucian Historiography : Biographies of Kim Yusin and Kungye in the Context of J . Campbell’s Monomyth ». Concept : philosophy, religion, culture 7, no 3 (30 septembre 2023) : 67–89. http://dx.doi.org/10.24833/2541-8831-2023-3-27-67-89.
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For the first time in Russian (and world) Korean studies, biographies of real historical characters are analyzed within the framework of the concept of monomyth (or hero's journey) coined by Joseph Campbell. Previously, such an approach was practiced only in the study of narrative prose. This paper focuses on practical evaluation of monomyth as a prism with regard to Confucian chronicles. Critical analysis of the text showed us to conclude that the concept of monomyth is quite suitable — with some reservations — for describing the historical narrative of the biographical section of the Confucian chronicle Samguk sagi (Historical Record of the Three Kingdoms). The research revealed life paths of the chosen hero, who embodies the ideal of a loyal subject, and his antagonist generally follow the three-part model proposed by Campbell (departure — initiation — return). This allows us to conclude that a powerful autochthonous Korean cultural stratum contributed to the formation of a specific syncretic worldview in Korea during the Three States and United Silla period (traditional dates: 1st century B.C. — 10th century A.D.), which integrated Confucianism, Buddhism and Taoism into a single system and was reflected in the official chronicle compiled in the 12th century. The Confucian historiographer's representation of these substrates (given a certain ability of these teachings to assimilate each other's concepts) was cemented by myth, which, together with the Confucian canon, set the principles of text organization, plot models, and ways of presenting historical events. The susceptibility of Korean Confucianism at this historical stage to mythology allowed mythological cosmology to integrate quite easily into the Confucian world-building narrative, and to deal with subjects that were previously considered taboo for Confucian ethics in classical Orientalism, such as the manifestations of the Oedipus complex. The interpretation of history as a moral and ethical drama brings official Confucian historiography closer to political myth in its modern interpretation and allows us to evaluate the historical text in a new way.
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Kolar, D., et M. Kolar. « Psychoanalysis, Philosophy and Literature- Intersection of Science and Art ». European Psychiatry 66, S1 (mars 2023) : S973. http://dx.doi.org/10.1192/j.eurpsy.2023.2069.
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IntroductionPhilosophy and psychoanalysis have mutually influenced each other in many ways. Ancient Greek philosophers, Socrates and Plato were frequently cited by Freud in his works and the origins of certain psychoanalytic concepts can be found in their works. The philosophical works of Kant, Schopenhauer, Nietzsche, Heidegger, Husserl, Sartre and many others had a significant impact on the development of psychoanalytic ideas. The intersection of philosophy and literature was best depicted in Simone de Beauvoir’s concept of the metaphysical novel.ObjectivesThe goal of this presentation is to perform a comprehensive historical review of the relationship between psychoanalysis, philosophy and literature.MethodsDifferent philosophical schools from ancient philosophy to classic German philosophy and philosophy of existentialism have been explored in their relationship with psychoanalysis and world literature. Among world literary classics, we selected only those who best represent the role of psychoanalysis in the modern literary critics and on the other hand the influence of philosophy on literature.ResultsEarly origins of the relationship between philosophy, psychoanalysis and literature can be found in the text of ancient philosophers and writers. The great Sophocles’ tragic drama Oedipus the King was the foundation for Freud’s concept of Oedipus complex. The Socratic dialogue, a technique best elaborated by his student Plato was the antecedent of modern psychotherapy. Later in history philosophical works of Kant, Schopenhauer, Nietzsche, Husserl, Heidegger, Sartre and many others had a significant impact on the development of psychoanalytic ideas. There is a number of other philosophical fictions in the world literature written by Sartre, Camus, Kafka, Proust and many others and some of these literary woks may have characteristics of psychological novel as well. Literary critics is an important field for the application of psychoanalysis. Psychoanalytic theory has been always in forefront of Shakespearean studies. Marcel Proust is a writer who gave a significant contribution to modern literary studies. He wrote about the interactive process between the reader and text and emotional impact of reading. Proust recognized the similar psychological processes that we can see in psychoanalytic setting.ConclusionsThis comprehensive historical review of the relationship between psychoanalysis, philosophy and literature demonstrates that all these disciplines have much in common, particularly in their intention to approach truth from different angles. Psychoanalysis is a science and applies scientific methodology in its theory and treatment. Certain branches of psychoanalysis like Jung’s analytic psychology are sometimes closer to philosophy and art than to science. Philosophy as a humanistic discipline has always been in between science and art.Disclosure of InterestNone Declared
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Apene, Dickson Nkehmengwe. « Intertextuality Across Genres : A Study of Homer’s the Odyssey and Suzan-Lori Parks’s Father Comes Home from the Wars ». Global Academic Journal of Linguistics and Literature 5, no 05 (23 septembre 2023) : 81–86. http://dx.doi.org/10.36348/gajll.2023.v05i05.003.
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This research work aims to show the relationship between Homer’s The Odyssey and Parks’s Father Comes Home from the Wars. It has as objective, to debunk the stereotypical norms of writing literary works, which shows that comparative analysis can only be limited to a particular genre, that is (novel to novel, play to play and poetry to poetry). This intertextual study proclaims that a literary work cannot be limited only to a particular genre but can equally cut across genres. This explains why Parks rewrites Homer’s epic poem The Odyssey into a play, Father Comes Home from the Wars, which she transforms into the American scenario. Thus, the researcher is going to carry out a comparative analysis between Homer’s epic poem and Parks’s play. Our study of the selected works has considered the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. Besides, the thematic and linguistic similarities and differences between the works of the European and American authour selected have enabled the researcher to have an insight into literary influences and affinities. This article has also studied the life experiences of the authours selected, and their historical contexts and has demonstrated that Homer had no direct influence on Parks. This work is premised on the hypothesis that intertextuality is not limited to a particular genre of writing, be it prose, poetry or drama but can equally cut across genres. Intertextuality foregrounds the notions of interconnectedness and interdependence in culture. To analyse these works, the researcher used deconstruction to debunk traditional norms of writing in contrastive studies. Although Parks subscribes to Greek mythology and the Theatre of the Absurd respectively, she deviates from her European forebear of this convention, as she presents her play Father Comes Home from the Wars, which is again not written in acts and scenes but in parts, through American realism, as she is somewhat a social critic.
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Chrzanowska-Kluczewska, Elżbieta. « Transmedial Creation of Text Worlds. Pictorial Narration in Response to Verbal Texts ». Discourses on Culture 19, no 1 (1 juin 2023) : 25–64. http://dx.doi.org/10.2478/doc-2023-0002.
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Abstract With the narrative and visual turn engaging research in several scholarly disciplines over the last decades, the author of this article intends to approach the issue of world-formation in such pictorial representations that have originated in response to verbal texts, mostly literary. The study assumes a semiotic vantage point, with text understood broadly as any meaningful sequence or network of signs. It draws also from Intermedial Studies, following in particular the idea of media transformation (transmediation) as proposed by Lars Elleström (2014), especially in application to “qualified” media such as artistic forms. An analysis will be carried on the set of images (mostly Western paintings and one instance of Oriental sculpture) produced by 19th and 20th-century artists, all induced by well-known verbal narratives that represent three categories: a) Greek mythology, b) religious and literary-religious texts (The New Testament, the Rāmāyana) and c) English-language literature (drama and poetry). As such, these visual renditions — a reversal of traditionally conceived ekphrasis in which verbal descriptions commented on visual artefacts — qualify as transmedial phenomena. The author’s main concern is to what extent storytelling static visual works, the instances of secondary narrativity (Stampoulidis, 2019), are capable of creating text worlds (partly) similar to storyworlds postulated for verbal narratives. Starting with her own taxonomy of picturing endowed with a narratorial potential (inspired by several typologies proposed for narrative images), the author will discuss the formation by pictorial means of two world-building units, namely: 1) scenes and 2) small worlds/sub-worlds, both of them only parts of full-blown text worlds. Temporality emerges as a foundational but not exclusive property of text worlds in the verbal and pictorial arts. This study is a continuation of the author’s previous research (Chrzanowska-Kluczewska, 2009, 2016, 2019) that points to an incremental growth of possible worlds into text worlds into discourse worlds in verbal and visual media.
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Korkmaz, Vahide. « Footprints of Greek Mythology in Medical Terminology ». Eskisehir Medical Journal, Eskisehir City Hospital, 31 juillet 2022. http://dx.doi.org/10.48176/esmj.2022.81.
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Mitoloji ve bilim arasındaki anlamsal ortaklığa dayanan mitik semboller, bilimsel terminolojide özellikle tıpta geniş bir kullanıma sahiptir. Bir medeniyetin dili olarak mitler hastalığa ilişkin doğaüstü yaklaşımın benimsendiği dönemlerden olan Antik Yunan Uygarlığında, hastalık kavramları ve iyileşme süreçleri üzerinde güçlü bir etkiye sahiptir. Çok sayıda tıbbi terim bu mitolojik figürlerle ilgilidir. Birçok tıbbi terimde yaşadığı görülen Yunan mitolojisinin kahramanlarına ve sıra dışı hikayelerine göz atmak ilgi çekici olacaktır. Bu çalışmada Freud'un Oedipus ve Electra komplekslerinden tıbbı simgelemek için kullanılan yılan metaforuna kadar tıbbın her köşesine ayak basmış Antik Yunan kültürüne ait efsanelerin ve mitolojik karakterlerin modern tıbbın günlük uygulamalarına nasıl ilham verdiğini incelemek amaçlanmıştır.
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Rahayuningtiar, Titis. « Penciptaan Naskah Drama Narcissus Berdasarkan Mitologi Yunani ». Resital : Jurnal Seni Pertunjukan 13, no 2 (2 novembre 2013). http://dx.doi.org/10.24821/resital.v13i2.519.
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Naskah drama Narcissus adalah sebuah naskah drama dengan genre klasik yang mengusung irama tragis. Narcissus adalah sebuah tokoh yang berasal dari cerita mitologi Yunani. Narcissus merupakan seorang pemuda sombong yang sangat mengagungkan keindahan yang ada dalam dirinya. Hingga suatu hari Narcissus dikutuk untuk jatuh cinta pada bayangannya sendiri. Penciptaan naskah drama Narcissus bertujuan untuk mengisi kelangkaan naskah drama yang sumber idenya berasal dari fenomena narsis di masyarakat dan konsep irama tragis dalam mitologi Yunani. Metode penciptaan mengusung sebuah metode kreatif yang terdiri dari tahap eksplorasi, pembentukan dan improvisasi. Hasil penciptaan naskah ini adalah sebuah naskah bergenre klasik yang memiliki pesan moral bahwasanya seseorang yang menganggap dirinya sempurna akan memberi akibat buruk untuk dirinya sendiri. Kesempurnaan hanyalah milik Tuhan.Kata kunci: Narcissus, Yunani, mitologi.ABSTRACTThe Creation of the Drama Script of Narcissus Based on the Greek Mythology. The script of Narcissus drama is a script of drama with a classical genre which carries the tragic rhythm on it. Narcissus is a character in the story of the Greek Mythology. He is an arrogant young man who really likes to glorify himself on the beauty of what he has. Unfortunatelly, one day he was cursed to fall in love with his own reflection. The creation of drama script of Narcissus is aimed to fill the scarcity of drama scripts in which the basic sources of idea come from narcissistic phenomena in a society and the concept of the tragic rhythm in the Greek mythology. The method of creation brings a creative method comprising the steps of exploration, creation, and improvisation. The result of this script creation is a classical genre script which has a moral message in which a person who considers himself perfectly will give a bad impact to himself. Nevertheles, perfection belongs to God only.Key words: Narcissius, Greek , mythology
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Zamperini, Enrica. « Sofocle : Magia, Medicina, Religione ». Acta Classica Universitatis Scientiarum Debreceniensis 57 (10 octobre 2021). http://dx.doi.org/10.22315/acd/2021/3.
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In Sophocles’ tragedies the interweaving of medicine, religion and magic produces a lot of meanings and concepts that show the complexity of the Greek thought of the Fifth century. In his tragedies, Sophocles shows his interest both in the magical and religious medicine and in the new Hippocratic medical science. The aim of this paper is to analyze the conceptual and lexical intertwining that reflects this interest, focusing on the character of Oedipus. In fact, Oedipus is the hero who best embodies this duplicity. At the beginning of the drama he assumes a rational investigation method through which he tries to discover Laius’ murderer and then to heal Thebes from the plague that afflicts it. However, his responsibility emerges during the tragedy; Oedipus’ fault has divine origin and makes him the first cause of the evil of the city. In the Oedipus at Colonus, Oedipus’ body is released from the contamination that had made him the origin of the plague and the hero’s body turns into a sort of magic amulet to protect the polis that will guard it when he will be dead.
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SUMARNO, RANO. « Penciptaan Naskah Drama Pemberontakan Sisifus ». Resital : Jurnal Seni Pertunjukan 10, no 1 (2 novembre 2013). http://dx.doi.org/10.24821/resital.v10i1.473.
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The Rebellion of Syssiphus. The Rebellion of Syssiphus play script is an effort to response suicide phenomenonin Indonesia. Joining two different social lives among human life in Indonesia and Greek mythology constructsthis creation as a surrealism play script. The purpose of this creation is: 1) to create a joint script of two differentrealms between Sissyphus’ life and recent reality of Indonesian people’s life in surrealist plot, (2) to produce a scriptconstantly contextual with man’s problem in life, (3) to enrich Indonesia Drama documentation through a scriptwith high motivational contents as an alternative of destiny. As a anti-suicide campaign for Indonesians, the authorinvokes a brilliant thinking of existentialist philosopher, Albert Camus, within the script to be performed andwatched. The implementation is not wholesome, but adapting Pancasila values. Therefore, this script is importantas a reference for students who teach and perform absurd scripts. Most drama observers say that the emergence ofabsurd script proposed by group of dramatist in 1950’s could not be released from Camus’ thought
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Susanetti, Davide. « Collera, crisi politica e soggetti queer. Da Antigone a Dioniso ». Varia, no 4 (1 janvier 2014). http://dx.doi.org/10.54563/eugesta.804.
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How does outrage work in Greek tragedy? Does the success or defeat of outraged characheters depend on gender identity? The paper outlines two differents patterns from Sophocles’ and Euripides’ drama. Through her orgé Antigone does not open a new history. Oedipus’ catastrophe is updated, the catastrophe of an impossible and indiscernible legitimacy: political power ashamed to discover that it is founded on horror. Antigone’s outrage is the fruit of the political incest played out in Oedipus’ story. It is a wretched family where fathers, sons and brothers mingle and blur into a monstrous muddle and this is the symbolic image of a crisis in Athenian democracy. The Sophoclean pattern of implosion is antagonistic to the Euripidean pattern, where the system explodes and is shattered forever. Euripides’ dramaturgy draws queer outraged characters – Medea and Dionysus – who transgress the boundaries of identity category and liquidate corrupt system and affiliations.
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Bento, Sílvia. « Beyond the Ancient and the Modern : Thinking the Tragic with Williams and Kitto ». Topoi, 20 décembre 2023. http://dx.doi.org/10.1007/s11245-023-09996-1.
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AbstractThe philosophy of Bernard Williams, recognised as a prominent expression of ethical thought, presents an intense dialogue with ancient Greek tragic culture. Combining erudition and elegance, Williams evokes Greek tragedies to discuss modern ethical ideas and conceptions. Our article intends to consider Williams’ thought from a cultural point of view: we propose analysing Williams’ cultural methodology, which may be described as a way of thinking beyond the traditional dichotomies between the ancient and the modern, especially concerning the notion of the tragic. Accordingly, we shall examine the affinities between ancient and modern tragic cultures by identifying common narrative and poetical elements. To do so, we shall consider the interpretation of Hamlet, developed by the classicist scholar H.D.F. Kitto. In Form and Meaning in Drama: A Study of Six Greek Plays and of “Hamlet” (1956), Kitto proposes reading Hamlet in close alliance with Oedipus Tyrannus. Kitto maintains that both tragedies are poetical expressions of a shared tragic element: miasma, or “pollution”, a concept thoroughly treated by Williams in the third chapter of Shame and Necessity. Our article aims to combine Williams’ cultural methodology—we may call it the deconstruction of the repeated theoretical frameworks regarding the differences between the ancient and the modern—and Kitto’s reading of Hamlet in line with Oedipus Tyrannus, which may be understood as an illustration of the persistence of common tragic elements beyond time and the historical separation of cultural periods. Our perspective shall be both cultural and aesthetical.
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Tessaro, Camila Lorenzini, João Gabriel Cavazzani Doubek et Matheus Kahakura Franco Pedro. « BEYOND THE NEUROLOGIST : CHARLES FOIX AS A POET AND A PLAYWRIGHT ». European Neurology, 4 mai 2024. http://dx.doi.org/10.1159/000539145.
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Background: Charles Foix (1882-1927) may be mostly remembered today due to his contributions to vascular neurology and the syndromes that bear his name, such as the Foix-Alajouanine syndrome. However, he also developed a literary career and composed poetry and a vast collection of plays, often dealing with biblical themes or figures from Greek mythology. Summary: His poetry was often inspired by his own experiences during the First World War, in which he was assigned to serve as medical officer in Greece, becoming enamored with his surroundings and the classical lore. Key messages: The authors explore Foix's poetry and drama and their relationship to his overall work as a neurologist, including his wartime experiences.
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JIN, Xusheng. « The Ethical Mystery of the Sphinx Riddle ». Iris Online Journal of Arts and Social Sciences 1, no 1 (31 janvier 2023). http://dx.doi.org/10.33552/iojass.2023.01.000501.
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This thesis embarks upon a polemic trek by poring over the origin of human ethical consciousness in Adam and Eve after their eating of the Tree of Good and Evil in the Bible, then goes on to explore the ethical mystery of the Sphinx Riddle in Greek Mythology, illustrate the ethical dilemma of Hamlet in Shakespeare’s renowned drama, and finally wind up with a new vision on Robert Frost’s poem with Lawrence’s idea of the Noble Wild Beast. Believing that there has appeared the binary of animality and rationality in man since the Biblical time, this thesis believes that human beings have repeatedly prized rationality over animality, emphasized ethical order over native desire, thus adoring knowledge and power while despising emotion and love. It tries to explore into such questions as: Why does God forbid Adam and Eve from plucking from the Tree of the Knowledge of Good and Evil? Is Eve making a sort of ethical choice by eating the Forbidden Fruit? What is the ethical significance of Sphinx itself?