Hecuba (Hekabe), once considered one of Euripides’ most successful tragedies - iure principem locum tenet, ‘it deservedly holds the pride of place’, according to its Renaissance editor - was ...relegated to the margins of literary attention by the scathing judgments of Romantic critics, who found fault with - among other things - its bipartite structure. It did not make its comeback until the 20th century, when it was identified as an ‘absolute tragedy’, possibly the darkest of the preserved Euripidean plays. Contemporary scholarship notes that the action of Hecuba is subtly welded together by the heroine’s search for justice, while the world around her neglects the basic postulates of Greek ethics, ordered by the reciprocity principle - concepts such as ξενία, ‘hospitality shown to a guest’, αἰδώς, a difficult term to translate, denoting ‘shame’, ‘reverence’, or ‘awe’, χάρις, ‘gratitude’ or ‘favour’, and ἱκετεία, ‘supplication’. Realising that nobody will help her obtain justice, Hecuba decides to find it on her own, taking brutal revenge on the ‘head-for-an-eye’ principle. While still acceptable by Athenian standards, this revenge finally makes the former Trojan queen more callous even than her tormentors having lost all she had, she loses herself as well.
Aeschylus’ Persians has caused many quandaries and divergences in interpretation, both in terms of its exceptional (historical) subject-matter and of the author’s true purpose, that is, the function ...of the play. While reading works of antiquity through the cultural lens of our own age is unavoidable and may prove fruitful, it can only carry weight if it takes into account a basic hermeneutic principle, that is, if it includes a reflection on the interpreter’s own starting-points, shedding light on their relativity. The oldest preserved work of European drama is generally interpreted within cultural and political horizons as defined by modern epistemic concepts, while its religious dimension passes unnoticed, although it should not be neglected – not only because of the general cultic framework which determined the original “hermeneutics” of tragedies, but also because of the text itself. This conceptually conditioned neglect of the “non-negligible” is described by the author horizon. Moreover, springing from a shift in self-understanding, and consequently in understanding history and culture, rather than from an inherent logic of science, these changes are largely perceived as an expression of the prevailing zeitgeist. A different reading is suggested – one based on a religious interpretive horizon, where clarifications and interpretive shifts, sprung from a different understanding of the social and cultural context, may significantly affect the perception of the work as a whole, without reducing it to what is meaningful solely within a delimited culturological and sociological horizon. After surveying the traditional dilemmas of literary history (the framework of tetralogy, dramaturgical structure, critical opinions on the effectiveness and artistic merit of the play), the paper addresses the Persians’ association with, or even dependence on, factual history: the events portrayed (at times with obvious historical inaccuracy) and the cultural mentality of the original audience. In this context, the dream of Queen Atossa (176–199) is addressed as well, with an emphasis on the non-nationalist message at the core of the dream vision. Particular attention is paid to the symbolic dimension of clothing: as symbols, garments mark a secondary, non-basic feature, which is not the same as the (unnamed) primary, physical feature. In the symbolic economy of the Persians, the very garments and gear are connected to the central idea – the destructiveness of man’s hybris –, graphically illustrating the transience of all things human.
Grško gledališče izhaja iz rituala, ki je na prikrit način ohranjen v nekaterih herojskih tragedijah, uveljavi pa tudi institut katarze, ki nas vrne v območje prvotno ritualnega in s tem ...predtragičnega.
Ovaj se članak bavi konceptualnim konstelacijama pod kojima možemo analizirati suvremenu postdramsku kazališnu predstavu, konkretno kazališnu seriju Tragedia Endogonidia (2002 – 2004) kazališne ...skupine Socìetas Raffaello Sanzio kao tragediju ili niz tragedija, sa specifičnim naglaskom na ulozi straha u razumijevanju Tragedije Endogonidije kao tragedije. Smatram da je Tragedia Endogonidia doprinijela promjeni suvremenog razumijevanja tragedije prema onom, u isto vrijeme apstraktnijem i eksplicitnije materijalnijem, gdje je sidrenje tragičnog u konkretnoj ljudskoj sudbini i razrješenje kroz zaplet zamijenjeno “zaplitanjem senzorijalnog” ili “zaplitanjem slike”, realizirano anticipacijom povezanom s neodređenim osjećajem neugode i straha.
A comparison between Sophocles’ and Seneca’s Oedipus the King affords large scope for illuminating the similarities and contrasts between their respective cultural milieus. The generic and thematic ...similarity of the works (which, of course, points to the embeddedness of Roman drama in the Greek genre) helps to set off the enormous cultural differences: the social function of the theatre, the conception of myth, and the religious and spiritual horizons in the early Roman Empire vastly differed from those of the classical Athens. It is only against the background of these general cultural differences that the issue most interesting to literary hermeneutics can be estimated: the irreducibly individual feature of either author, Sophocles or Seneca – his style. Seneca’s plays, regardless of their (un)stageability, are strongly rhetorical. The extensions of certain motifs of the traditional myth (description of the plague at Thebes), their inventive reworking, and narrative digressions (divination using entrails, description of the forest, rite of evoking the dead) significantly slow down the dramatic action. The scenes are thus often lengthy and static, yet at the same time meticulously and evocatively elaborated as images of the external and internal worlds. The effects of the characters’ extensive psychological self-illuminations in their monologues sometimes run counter to dramaturgical logic, a feature which sets Seneca’s Oedipus most clearly apart from Sophocles’. Given this striking extensiveness, the reconciliation of Seneca’s tragic hero to his fate seems the more surprising: a likely motive for it is the pedagogical principle of Stoic poetic, according to which the spectator is ‘purified’ of his affects through the catharsis which is experienced by the characters within the dramatic space and time.
Jokastina fatalistična etika Brane Senegačnik
Keria: Studia Latina et Graeca,
12/2002, Letnik:
4, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Čeprav predstavlja Jokasta v Kralju Ojdipu stranski lik, ima njen etični credo, ki je v ostrem nasprotju z Ojdipovo odločenostjo, da bo sam odrešil Tebe kuge, velik pomen za idejni svet te igre. V ...njem se odkriva osupljiva podobnost s fatalistično etiko nekaterih najpomembnejših antičnih in sodobnih filozofskih tokov: epikurejstva, stoištva in Heideggrove misli. Njene besede podobno kakor ti nauki izražajo nezmožnost prenesti resnico o samem sebi in se zato zatekajo k reduciranju človekove samopodobe. Različna izhodišča vodijo k podobnim praktičnim posledicam.
V razpravi primerjamo Ojdipa in Josefa K. s stališča hamartije, najpoprej kot usodne zmote in pozneje kot osebne junakove odzivnosti. Ojdipova samoanaliza in Josefov način življenja, v katerega je ...neupravičeno posegal »Z dvajsetimi rokami«, vodita v kazen, pri Ojdipu v samokazovanje, pri Josefu v brutalno usmrtitev. Pomembno vlogo na poti k anagnorisi imajo pri obeh junakih ženske, prerok Tejrezij in duhovnik v stolnici; primerjava Ojdipove smrti na Kolonu in Josefove v kamnolomu pa pokaže na obredno čistost in na razkroj obreda, hkrati pa se Ojdipova usodnost premakne v območje židovsko-krščanskega upanja.
Friedrich Nietzsche (1844.-1900.) u svome spisu Rođenje tragedije u duhu glazbe donosi, za dotadašnje shvaćanje, novo razumijevanje antičke tragedije. Takvo razumijevanje u svome prikazu obuhvaća sve ...etape njezinog postojanja, počevši od podrijetla i pojave, preko razvoja pa sve do vrhunca i kraha. Nietzsche usporedno s prikazom razvoja antičke tragedije objašnjava i dva temeljna načela kojima antička tragedija biva vođena, apolonsko i dionizijsko načelo. Njihovim međusobnim ravnomjernim supostojanjem, antička tragedija dosegla je svoj vrhunac i postala tragedijom uopće. Međutim, kao što je njihovo pojavljivanje bilo razlog pojavi i vrhuncu antičke tragedije tako će i njihovo nestajanje biti razlog njezinog kraha i nestanka. Kronološkim prikazom postojanja antičke tragedije s jedne strane, te novim shvaćanjem dionizijskog i apolonskog načela s druge strane, Nietzsche donosi novo razumijevanje antičke tragedije u kontekstu svoje artističke metafizike.
Študija analizira dve dramski obdelavi mita o Antigoni: Sofoklovo tragedijo Antigona in istoimensko dramo Dušana Jovanovića. Klotzeva tipologija zaprte in odprte forme drame daje formalni okvir, v ...katerem se razvije antropološka interpretacija omenjenih dram. Odprta in zaprta forma temeljita na kompoziciji drame, dejanju, dramski osebi, prostoru in jeziku. Članek podrobneje obravnava dramsko osebo in dejanje.
Drame „genijskoga cilusa” Krležnih Legendi analizirane su s obzirom na nadžanrovski
shvaćenu kvalitetu tragičnog, pogotovo s obzirom na specifičan odnos tragedije prema
mitu koji podrazumijeva ...određeni stupanj njegove refleksije. Rad se oslanja na teorijska
razmatranja koja u središte suvremene tragedije stavljaju problem subjekta najuže
vezan uz instancu lika. Na primjerima više-manje neuspjelih vizionara reflektirana je
inherentna slabost njihovog mesijanskog poduhvata koji se sastoji u pokušaju humanizacije
čovjeka. Ovim je ostvarena tipično krležijanska pesimistična antropološka vizija
čovjeka kao podvojenog bića razapetog između vlastite tjelesnosti/animalnosti i njegove
idealne projekcije.
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