Alfred Edward Housman (1859–1936), ki je kasneje postal angleški pesnik in eden največjih filologov svojega časa, je svoj zafrkantski »fragment« objavil pri triindvajsetih, leta 1883, v reviji ...Bromsgrovian. Revijo je izdajala Bromsgrove School, kjer se je šolal kot najstnik (1870–77); na šolo, ki je prva prepoznala njegov jezikovni in pesniški talent, se je za kratek čas (1881–82) vrnil kot pomožni učitelj po nepričakovanem študijskem porazu na Oxfordu. Kot ugotavlja Ralph Marcellino, ni naključje, da besedilo parodira predvsem Ajshila, ki je bil Housmanov najljubši pesnik. V njem odzvanja Oresteja, zlasti drami Agamemnon in Prinašalke pitnih darov, verjetno zato, ker so ju dijaki na šoli, kjer je poučeval, pri pouku največ brali. Prav ta ciljna publika je znala ceniti norčevanje iz retoričnih figur ter sintaktičnih konstrukcij, ki jim jih je njihov pomožni učitelj vbijal v glavo.
Počevši s renesansom i humanizmom te optimističnom slikom ljudske slobode i autonomnog djelovanja, razvile su se na Zapadu različite ideologije progresa i politički projekti koji vjeruju da je zlo ...posljedica društvenih okolnosti promjenom kojih nestaje i zlo. Sve su se te ideologije pokazale kao zablude. U ovom radu, stoga, donosimo, kroz prizmu tragične misli inspirirane kršćanstvom, moguću korekciju kao i uzroke propasti tih zabluda na optimističnoj matrici ljudske slobode i autonomije. Poseban naglasak stavljamo na misao Nikolaja Berdjajeva u odnosu između drame i tragedije u povijesti i metafizičke drame te kompleksniji, metafizički pristup ljudskoj slobodi i zlu. U zaključku donosimo kritiku imanentizama koji su bili pretočeni u optimistične političke projekte koji su, zbog svoje (radikalne) antimetafizičnosti i antireligioznosti, zanemarujući dubinu problema zla, boreći se protiv njega, u ime »plemenitih ciljeva«, doveli do još većeg zla.
Starting with the Renaissance and Humanism and the optimistic image of human freedom and autonomous actions, various ideologies of progress and political projects have developed in the West, which believe that evil is the result of social circumstances that, when they change, evil disappears. All these ideologies turned out to be delusions. In this work, therefore, the author brings, through the prism of tragic thought inspired by Christianity, a possible correction as well as the causes of the downfall of those misconceptions on the optimistic matrix of human freedom and autonomy. Special emphasis is placed on the thought of Nikolay Berdjajev in the relationship between drama and tragedy in history and metaphysical drama and a more complex, metaphysical approach to human freedom and evil. In conclusion, the author criticizes the immanentism that were translated into optimistic political projects that, due to their (radical) anti-metaphysics and anti-religiosity, ignoring the depth of the problem of evil, fighting against it, in the name of »noble goals«, led to even greater evil.
Znamenita Aristotelova definicija tragedije u povijesti je hrvatske filozofije i (klasične) filologije prevođena razmjerno često. Može se govoriti o desetak pokušaja, uzmu li se u obzir, osim ...cjelovitih prijevoda Aristotelove Poetike, i različita druga djela, kao što su povijesti (grčke) filozofije, ili povijesti književnih teorija i estetike. U prilogu se uspoređuju prijevodi Armina Pavića i Franje pl. Markovića. Pri tome se razmatra i odabir hrvatskih otpovjednica pri prijenosu pojedinih (temeljnih) pojmova iz grčkoga jezika u hrvatski i cjelina stavka, budući da jedno i drugo, naime odabrane prevedenice i sam »ustroj« hrvatske rečenice, redovito upućuju i na (prevoditeljevo) poimanje Aristotelova shvaćanja tragedije, ali k tomu i na razumijevanje Aristotelove filozofije umjetnosti u cjelini.
One of the most famous sentences in the whole history of aesthetics, even in the whole history of philosophy, Aristotle’s definition of tragedy (or određaj, as Franjo Marković translated the term definition), in the history of Croatian philosophy and philology has been translated several times. There are ten versions, if we take into consideration, besides the entire translations of Aristotle’s Poetics, some other works, like various histories of (Greek) philosophy, or histories of literary theories and aesthetics, because in those works, within the interpretations of Aristotle’s philosophy of art, his definition of tragedy is always considered, and its translation is given very often. The translators are these: Pavić (1869), Kuzmić (1902 and 1912), Marković (from his book The Development and the System of General Aesthetics, 1903), Bazala (from vol. I of his History of Philosophy, 1906), Šanc (from vol. I of his History of Philosophy, 1942), Šamšalović (from Croatian translation of Lessing’s Hamburg Dramaturgy, 1950), Dukat (1978 and 1983), and Švacov (from his book Antique Dramaturgy, 2014). Đurić’s Serbian translation of Aristotle’s Poetics (31955) must be taken into account too, because its influence, during some periods of Croatian recent history, was considerable. In the paper, which compares Pavić’s and Marković’ translation, the specific selection of the Croatian equivalents for the basic Greek terms is discussed, as well as the entire definition, because both, the selected Croatian words and the very »structure« of the Croatian sentence, always show translator’s understanding of Aristotle’s conception of tragedy, and usually his comprehension of Aristotle’s philosophy of art as a whole.
Straipsnyje nagrinėjama tragedijos kilmės bei poveikio samprata Friedricho Nietzsche's filosofijoje. Remiantis filosofo mintimis, sprendžiama klasikinė žmonių susižavėjimo tragedija priežasties ...problema. Parodoma, kad dionisiškasis džiaugsmas yra susijęs su aukščiausia tragiškojo meno verte. Tragiškasis jausmas kyla iš pačios būties (Dioniso, vienio, gamtos) ir suteikia metafizinę paguodą, jog bus įveiktas individualumas, pasaulis susigrąžins vienovę.
Tragoedia Humana Špoljarić, Bernard
Filozofska istraživanja,
03/2019, Letnik:
39, Številka:
1
Journal Article, Web Resource
Recenzirano
Odprti dostop
Lociranje iskona duševnih patnji svojstvenih ljudskoj vrsti zahtjeva pristup predmetu koji se ne da reducirati na jednu od specijalističkih metoda prirodnih znanosti, psihologije, historije i ...sociologije, te nadilazi one partikularnosti koje bivaju nošene razgraničenim perspektivama; kulturološkim i historijskim razmacima. Pitanje duševnih patnji pitanje je općenito-ljudskog bića, stoga je pored interdisciplinarnom metodom sabranih uvida o naravi predmeta potrebno još filozofijski sagledati predmet, ne izolirano, nego u sprezi s onom cjelinom spram koje čovjek zadobiva svoje biće kao jedno od mnogih. U tom smislu, ovo istraživanje vođeno je idejom rascijepljenosti kao paradigmom onoga što se poima duševnom patnjom, s obzirom na to što patnja pretpostavlja neki nedostatak, a moguća rješenja traži polazeći od shvaćanja ljudskog stanja kao inherentno tragičnog stanja potrebitosti.
Locating the origin of psychic suffering akin to human kind requires an approach to the subject that cannot be reduced to any special method of natural sciences, psychology, history and sociology, and it oversteps particularities which are being carried by confined perspectives; cultural and historical spacing. The question of psychic suffering is a question regarding a human being in general, and thus except for insights compiled by the interdisciplinary method, we also need a philosophical investigation of the subject. It is not meant in the sense
of isolation, rather as coupled with that wholeness by which a human being attains its being as being one among many. In a sense given, this investigation is guided by an idea of rupturedness as a paradigm of what
is considered to be psychic suffering, conditioned by the fact that suffering presupposes a sort of deficiency. The paper seeks possible solutions starting from understanding the human condition as an inherently tragic state of neediness.
As a manifestly hybrid genre, the novel can contain also elements of tragedy. In tragedies and tragic narratives, a suppliant regularly fulfils four characteristics: a) she is a female or a person in ...a subordinate social position; b) she is threatened by violence and often death; c) she cannot speak or communicate her problems; and d) she is neither a protagonist nor an antagonist. Anera from Mile Budak’s Ognjište (The Hearth) presents all of the mentioned characteristics, with only a partial deviation from the fourth one. She is given a great amount of space in the novel and in intelligence is very close to the hero Lukan. Anera also fulfils, to a good degree, the conditions placed before a hero by Lynette Porter (an expert in English, rhetoric and composition), lacking, however, elements of victory over evil, which is achieved by Lukan. From Anera’s position Budak’s novel could be described as a tragedy of revenge, only that her characteristics do not determine the novel’s genre-defining whole.
Izlaganje razmatra suštinski odnos filozofije i glazbe u njihovom zajedničkom podrijetlu i izvornosti, otkrivajući ga u svojoj očiglednosti koji, zbog toga, ostaje i dalje prekrasan u svojoj suštini ...i nadasve tajanstven. Taj je odnos ‘dobro’ sačuvan u svim ritmičkim elementima poezije, plesa i glazbe, posebice metrike antičke kulture. Nit vodilja ovog izlaganja je promišljanje o glazbi kroz filozofske načine, i to one kroz koje se filozofski može misliti i o izvornoj filozofiji. Odgovor do kojeg se tu dolazi neminovno se iznova pretvara u postavljanje novih pitanja. Radi se, dakle, o ‘igri’ koja se danas nastavlja ponovnim vraćanjem na prvotno, izvorno pitanje. Jer kako kazuje Heinrich Heine: „I ne završavamo upitati se, opet i opet, dok pregršt zemlje nam ne zatvori usta. Ali i to je odgovor”.
V Evripidovi tragediji Heraklova blaznost ima pojav blaznosti osrednjo vlogo, saj je neposredno povezan s prelomnim dogodkom v junakovem življenju: Herakles namreč v blaznosti pobije svoje otroke in ...ženo ter se tako iz heroja prelevi v morilca. Pri tem se seveda postavlja vprašanje, ali je ta blaznost notranjega ali zunanjega izvora. V prispevku želim zato raziskati opise blaznosti v tragediji ter izpostaviti različne interpretacije pojava in tragedije kot celote; te interpretacije bom zaradi večje preglednosti združila v posamezne sklope glede na njihovo osrednjo poanto. Pri tem bom poskušala ne samo prikazati mnogovrstnost razlag, pač pa tudi opozoriti na večplastnost Evripidovih del.
Friedrich Nietzsche je vrlo dojmljiva osoba suvremene filozofije. Njegova misao usmjerena je na kritiku europskog čovjeka oblikovanog metafizičkim naslijeđem. S druge strane, on pokušava, u vlastitom ...suočavanju sa zbiljnošću, donijeti novu perspektivu mišljenja. Ono se u intuitivnom ophođenju sa svijetom želi ozbiljiti po uzoru na umjetnički zadatak. Cilj je filozofa iskristalizirati svoju umjetničku bit, pri čemu stvaralački mora postaviti nove vrijednosti. Iznimna neprozirnost Nietzscheova djela, filozofije koja se više skriva negoli otkriva, onemogućuje sustavni prikaz njegova filozofijskog opusa. Razlog tomu jest Nietzscheov upravo nesustavni i pjesnički neiskaziv odnos sa zbiljnošću u skladu s razmatranjem nemogućnosti njezina oblikovanja pojmovnim kategorijama koje bi se istinito odnosile na njezinu bit. Svjestan nemogućnosti oslonca na metafiziku, kojoj je pripisao jedino moralistički i vrijednosno-sustavni odnos sa svijetom, pokušava Nietzsche iznijeti diskurs budućeg razumijevanja u znaku intuitivnog prepoznavanja i opravdanosti paradoksa koji se nalazi u heraklitovskoj biti života, čime ujedno iznalazi umjetničku potvrdu života kao velebne igre gradeće-razarajućeg pra-temelja.
Friedrich Nietzsche is a very impressive figure of modern philosophy. His thought is directed to the critique of the European man shaped by a metaphysical heritage. On the other hand, he tries, in his own confrontation with reality, to bring a new perspective of philosophical thought. In its intuitive approaching of the world it intends to actualize itself as an artistic task. The goal of the philosopher is to crystallize his artistic being wherein he must creatively set new values. The considerable vagueness of Nietzsches’s work, a philosophy that hides more than it reveals, makes it almost impossible to represent his philosophical opus in an organic way. The reason for this is just Nietzsche’s unsystematic and poetically unutterable relation to reality in accordance with the consideration of the impossibility of formulating it in conceptual categories that would really refer to its essence. Aware of the impossibility of relying on metaphysics, to which Nietzsche attributed only a moralistic and value- systematic relationship with the world, he tries to introduce the discourse of future understanding in the form of intuitive recognition and justification of the paradox lying in the heraclitean essence of life, in which he, at the same time, grounds the artistic confirmation of life as a grandiose game of construction and devastation of the primordial ground.