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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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Datan, Nancy. "The Oedipus Cycle: Developmental Mythology, Greek Tragedy, and the Sociology of Knowledge." International Journal of Aging and Human Development 27, no. 1 (July 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.
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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 (February 28, 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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Goldhill, Simon. "The Ends of Tragedy: Schelling, Hegel, and Oedipus." Publications of the Modern Language Association of America 129, no. 4 (October 2014): 634–48. http://dx.doi.org/10.1632/pmla.2014.129.4.634.
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This article compares and contrasts how the texts of Greek tragedy thematize ending and how German idealism, especially Hegel and Schelling, constructed a theory of ending in relation to Greek tragedy. In particular, through Hegel's and Schelling's paradigmatic readings of Oedipus, the article demonstrates a deep-seated commitment to a Protestant Christian teleology that continues, unrecognized, to influence modern readings of Greek tragedy.
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Alfonzo, Bruno D. "El fratricidio: antecedentes épicos y derivaciones trágicas de un tópico resemantizado en la figura del exilio edípico en Fenicias de Eurípides." Nova Tellus 39, no. 1 (January 27, 2021): 45–70. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27543.
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The following work deals with fratricide as a topic in Western culture and its role in literature from the different approaches in modern times. The paper focuses on the delimitation of the topic within Greek literature through the evolution of Oedipus’ offspring’, from Archaic Greek epic to tragedy. Thus, it starts contrasting the mythical elements that both, epic and tragedy, display as a support of each story. My hypothesis is fratricide of Eteocles and Polynices becomes a punishment to Oedipus through his exile, and that its consummation is in Euripides’ Phoenissae, which I conclude through a comparative study of the sources.
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Cannizzaro, Francesco, Stefano Fanucchi, Francesco Morosi, and Leyla Ozbek. "SKĒPTRON IN SOPHOCLES’ OEDIPVS REX." Classical Quarterly 69, no. 2 (November 12, 2019): 515–22. http://dx.doi.org/10.1017/s0009838819000909.
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In Sophocles’ Oedipus Coloneus, after laying hands on Antigone and Ismene, Creon ridicules Oedipus by saying these words (OC 848–9):οὔκουν ποτ’ ἐκ τούτοιν γε μὴ σκήπτροιν ἔτιὁδοιπορήσῃς.Then you shall never more walk with the aid of these two props!It is possible that Creon is here alluding to Oedipus’ actual appearance throughout the play. As far as we know, Oedipus comes on stage with no walking stick, and uses Antigone and Ismene as a crutch while walking. Creon's comparing Oedipus’ daughters to a crutch, however, is also metaphorical. Such a metaphor is quite common in some modern languages (for example in Italian, ‘bastone della vecchiaia’, or in French, ‘bâton de vieillesse’), but was known by ancient Greek poetry as well. In Euripides’ Hecuba, for instance, Hecuba depicts her daughter Polyxena as her crutch (281 βάκτρον).
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Zelenak, Michael X. "The Troublesome Reign of King Oedipus: Civic Discourse and Civil Discord in Greek Tragedy." Theatre Research International 23, no. 1 (1998): 69–78. http://dx.doi.org/10.1017/s030788330001823x.
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Greek tragedy was created under a unique and very unusual set of circumstances. What we today call Greek tragedy was not really ‘Greek’ but specifically Athenian. It articulated Athenian values, celebrated Athenian institutions, debated Athenian problems. Despite the undisputed artistic achievements of the great tragedians, the primary motives behind the creation and production of classical Greek tragedy were not artistic or literary, but social and political. Greek tragedies were contemporary and topical civic spectacles, and a central component of Athenian civic life and political discourse. Aristotle identified this ‘political’ aspect of classic Greek tragedy as its distinguishing feature by noting that ‘the earlier poets [Aeschylus, Sophocles and Euripides] made their characters talk “politically” [politikos], the present-day poets rhetorically’.
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Ley, Graham. "On the Pressure of Circumstance in Greek Tragedy." Ramus 15, no. 1 (January 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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Steiner, Deborah T. "Stoning and Sight: A Structural Equivalence in Greek Mythology." Classical Antiquity 14, no. 1 (April 1, 1995): 193–211. http://dx.doi.org/10.2307/25000146.
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This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects not only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe.
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Jovanovic, Bojan. "Čajkanović's road from ancient Greek and folk literature to Serbian religion and mythology." Glasnik Etnografskog instituta 56, no. 1 (2008): 37–51. http://dx.doi.org/10.2298/gei0801037j.
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Evangelopoulou, Olympia, and Stelios Xinogalos. "MYTH TROUBLES: An Open-Source Educational Game in Scratch for Greek Mythology." Simulation & Gaming 49, no. 1 (December 26, 2017): 71–91. http://dx.doi.org/10.1177/1046878117748175.
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Background. Educational games are nowadays used for facilitating the teaching and learning process of various subjects. History is one of the subjects that simulations and games are used for promoting active learning and supporting students in comprehending various history-related subjects. Aim. This article reports on a new educational game on Greek mythology, called MYTH TROUBLES, designed and developed from scratch with the aim of supporting primary school students in studying Greek mythology and raising their interest on the subject of history. Method. The article presents the educational rationale and design of MYTH TROUBLES in the context of an educational games design model proposed in the literature. Since the game was implemented with the platform of Scratch and it is available online both for students (or anyone interested in Greek Mythology) and game developers, some information for its implementation is also provided. The results of a pilot evaluation of MYTH TROUBLES with the help of 21 experienced school teachers are presented, along with proposals for improvement and extension of the game. Results. Teachers evaluated positively MYTH TROUBLES in terms of acceptability, usability, utility as an educational tool, as well as its interface and game play and expressed their willingness to use it in the classroom. Conclusions. MYTH TROUBLES is considered appropriate by teachers for supporting the teaching and learning of Greek mythology and assessing its educational value in class is the next step. Scratch is appropriate for implementing such educational games and sharing them with interested players and game developers.
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Szymańska, Katarzyna. "Geneza mitu superbohatera. Różne oblicza (super)bohaterów w kinematografii, literaturze, Internecie." Kultura Popularna 3, no. 49 (March 31, 2017): 6–13. http://dx.doi.org/10.5604/01.3001.0009.8040.
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The article shows how hero as myth has become a popculture icon. In literature new model of ancient Greece hero represents Percy Jackson from Rick Riordan’s books about Olympians. Movie based on this novel shows how Greek mythology is popular. One of actors who played in this adaptation, Nathan Fillion, played also a hero a few times. These movies brought modern and different kind of superhero, for instance Joss Whedon’s Dr. Horrible Song-Along Blog (2008) or James Gunn’s Super (2010), which is similar to Matthew Vaughn’s Kick-Ass (also 2010). A new hero is now an average person and proves that courage is more important than extrapowers. Blockbuster movies are popular on the net, where photos from scenes become memes. Greek mythology is still present in daily life in new, modern formula.
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Buxton, Richard. "Imaginary Greek mountains." Journal of Hellenic Studies 112 (November 1992): 1–15. http://dx.doi.org/10.2307/632149.
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It is hardly controversial to assert that recent work on Greek mythology is methodologically diverse. However, there is one body of writing which seems to have become a reference point against which scholars of many persuasions–not excluding orthodox positivist philologists and adherents of psychoanalysis–feel the need to define their own position. I mean structuralism. G.S. Kirk and, later, W. Burkert have conducted their dialogues with it; C. Segal and more unreconstructedly R. Caldwell have tried to accommodate Lévi-Strauss and Freud under the same blanket; a glance at bibliographical citations in studies of tragedy over the last twenty years will show how J.-P. Vernant and P. Vidal-Naquet have moved from the periphery to the centre (much as Finley did some time ago in ancient history). The polemical attitudes being struck by M. Detienne (from within the movement) and C. Calame are directly generated by over-confident structuralist attempts to map out the mental territory they claimed as their own.
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Wilson, N. G. "Oedipus Rex - R. D. Dawe: Sophocles, Oedipus Rex. (Cambridge Greek and Latin Classics.) Pp. viii + 260. Cambridge University Press, 1982. £19.50 (paper, £7.50)." Classical Review 35, no. 1 (April 1985): 8–10. http://dx.doi.org/10.1017/s0009840x00107103.
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Kim, Suh-Yoon. "Greek Mythology as Children’s Literature - Centered on Picture Books of Echo Myth Adapted for Children -." Korean Literature Education Research 67 (June 30, 2020): 35–67. http://dx.doi.org/10.37192/kler.67.2.
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Klauck, H.-J. "Accuser, Judge and Paraclete - On conscience in Philo of Alexandria." Verbum et Ecclesia 20, no. 1 (August 6, 1999): 107–18. http://dx.doi.org/10.4102/ve.v20i1.1169.
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Of all known ancient authors writing in Greek, Philo of Alexandria is the one and related terms and concepts (the apostle Paul comes next, more or less). Something similar may only be found in Latin authors speaking of conscientia, like Cicero. This needs an explanation. After discussing some relevant passages from Philo's writings, with special stress on the texts from scriptures exposed by him, analogies in wisdom literature and in Graeco-Roman rhetoric and mythology are indicated. The following solution is proposed: Philo combines the punishing Furies (cf Cicero) and the benevolent guardian spirit (c. Seneca) of Graeco-Roman mythology and philosophy with the personified reproof from Jewish Wisdom literature, and so he creates a concept that helps him to give a visual description of the strict but nevertheless kind guidance God practices on man.
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Barbosa, Tereza Virginia Ribeiro. "Édipo zorro / Oedipus the Fox." Caligrama: Revista de Estudos Românicos 25, no. 2 (September 16, 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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ШУЛЬЦ, СЕРГЕЙ. "Мотивы древнегреческой мифологии в повести Гоголя Вий." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 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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Rodziewicz, Artur. "Tawus Protogonos: Parallels between the Yezidi Theology and Some Ancient Greek Cosmogonies." IRAN and the CAUCASUS 18, no. 1 (2014): 27–45. http://dx.doi.org/10.1163/1573384x-20140103.
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The paper concerns some crucial issues of theology and cosmogony of the Yezidis, which have distinct parallels in the writings of the ancient Greeks. A startling coincidence of certain topics and the manner of approach can lead to the conclusion that the Yezidi theology and mythology seem to have a distant genetic relationship with the Greek theology, or―which is also possible―we are dealing with distinct independent inscriptions of the same ideas, meaning here the highest factors governing the world. The paper also contains references to similar topics in the literature of Early Christianity and Gnosticism.
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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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Halchuk, O. "Woman-character and woman-author in ancient Greek and Roman literature: an attempt at the typology." Science and Education a New Dimension IX(253), no. 45 (June 25, 2021): 20–24. http://dx.doi.org/10.31174/send-hs2021-253ix45-05.
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The article proposes a typology of female characters of ancient literature. The typology is based on the dominant categories of «moral» (expressed by the dichotomy of «moral – immoral»), «heroic» («achievement – offence») and «aesthetic» («beautiful – ugly»). Through the prism of mythology, the semantics of the figurative gallery «woman-character» and «woman-author» reflects the specifics of the position of women in the ancient world. Misogyny is typical for the male world of antiquity. This determined the emphasis in the interpretation of women's masks, which were mainly given the role of the object of erotic posing. This, however, does not diminish the reception potential of female images of ancient origin in the subsequent world literary discourse.
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안영옥. "A Study on Acceptance of Greek Mythology in the Spanish Literature: Focused on the Character of Ulysses." Korean Journal of Hispanic Studies 12, no. 2 (November 2019): 103–26. http://dx.doi.org/10.18217/kjhs.12.2.201911.103.
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BÉRARD, STÉPHANIE. "From the Greek Stage to the Martinican Shores: A Caribbean Antigone." Theatre Research International 33, no. 1 (March 2008): 40–51. http://dx.doi.org/10.1017/s0307883307003380.
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In his first play, Une Manière d'Antigone (1975), Patrick Chamoiseau brings together Greek mythology and the history of Martinique. This article compares this version with the Sophoclean version, considering the transformations made by the Martinican playwright in terms of time and space, plot, characters and language so as to determine how different or similar the Caribbean Antigone is from her Greek sister. By adapting a famous Greek myth on the Antillean stage, Chamoiseau realizes a literary transposition while reaffirming his strong political opposition towards France. This play inscribes itself in the vast movement of subversion and contestation of the classic literary tradition by postcolonial writers who create their own literature based on the adaptation of Western classics. Chamoiseau's rewriting of the Antigone myth allows for a reappropriation and a revalorization of a forgotten history. Additionally, it presents an assertion of resistance and a plea for emancipation from both literary and political domination.
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Bashir, Burhan. "Insanity or Inspiration: A Study of Greek and Arab Thoughts on Poetry." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 115–25. http://dx.doi.org/10.24093/awejtls/vol5no2.9.
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The nexus between poetry, insanity, and inspiration is peculiar and can be traced back to earlier centuries. There are many examples in Greek and Arab literature where poetry is believed to have connections with divinity, possession, or even madness. The paper will try to show what Greeks and Arabs thought about the origin and the creation of poetry. It will attempt to show how early mythology and legends of both assign a supernatural or abnormal source to poetry. References from these two cultures will show the similarity in some theories like that of muses and supernatural beings, helping the poet achieve his goal. In order to show the similarity, many Greek and Arab philosophers/poets shall be referred to in the discussion. The methodology used shall be descriptive and analytical in nature.
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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 (March 1, 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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Shalaghinov, Borys. "On History of Romantic Overturn in Modernist Mythology." Академічний журнал "Слово і Час", no. 5 (May 29, 2019): 29–40. http://dx.doi.org/10.33608/0236-1477.2019.05.29-40.
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The paper deals with a Greek myth adopted by modern scholars, which is hypothetically treated not as an authentic picture of antiquity, but philosophical construct, developed by early German romantics on the basis of Kantian discourse. The myth-narration was understood as a way of mental transformation of the hostile environment (embodied by the rite of human sacrifice) in terms of its humanization, aesthetization, heroization, intellectualization; the purpose of individual existence was interpreted as a unity of nature, society and the person, immersion in the ‘myth-environment’ being a condition for such unity. A further evolution of the myth took place due to civilizational shifts in Europe, which ‘fragmented’ human unity and destroyed the original unity of mythology. The modernist myth (Joyce, Messiaen, Bachelard) gave place to deintellectualization, particularization and desocialization of public life that urged to turn towards the blind nature ‘before civilization’ and stimulated indifference about the last preceding stages of culture. The life force was understood as returning to pure instinct that indicates the presence of nature in man. The distinction between sophisticated connoisseurs of culture and the bourgeois ‘mass’ became especially sharp; the ‘myth’ got really destructed by transferring it from actual life to the setting of everyday comfort, bypassing the spiritual state of the individual. The ‘myth of intertextuality’ (book myth, new-Alexandrian myth) is characteristic of the period of decline, as it is oriented not towards a living person and ‘life force’, but towards narration. This tendency was most vividly reflected in N. Frye’s mythological theory (about literature as myth-making).
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MANSUR, NACIME SALOMÃO BARBACHAN, and MARCEL JUN SUGAWARA TAMAOKI. "ACHILES: AN IMORTAL EPONYMOUS." Acta Ortopédica Brasileira 28, no. 6 (December 2020): 316–17. http://dx.doi.org/10.1590/1413-785220202806237097.
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ABSTRACT The conditions affecting the calcaneal tendon remain extremely prevalent in the clinical practice. The search for information about these diseases in national and international scientific databases are commonly hampered in the use of search tools, requiring the use if an eponym in the strategy. Achilles, in reference to the hero of the Greek mythology, is often used by several authors in scientific publications despite the new Nomina Anatomica. Objective: This article intends to recover the history behind the use of this term, which heroically resists in the clinical discussions of everyday life in articles and textbooks. Level of Evidence V, Literature Review.
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Goldhill, Simon. "The Roots of Greek Culture - Gregory Nagy: Greek Mythology and Poetics. (Myth and Poetics.) Pp. xi + 363. Ithaca and London: Cornell University Press, 1990. $35." Classical Review 41, no. 1 (April 1991): 87–89. http://dx.doi.org/10.1017/s0009840x0027738x.
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안영옥. "A Study on Acceptance of Greek Mythology in the Spanish Literature 1: Focused on Poems of Spanish Golden Age." Korean Journal of Hispanic Studies 11, no. 1 (May 2018): 47–83. http://dx.doi.org/10.18217/kjhs.11.1.201805.47.
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Fitch, John, and 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.
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Rudnytska, A. R., and F. İ. Arnaut. "Change of mythological motifs in the chain "folklore-mythology-literature" (on the example of myths “King Oedipus”, “Rustem and Suhrab” and Orhan Pamuk's novel “The Red-Haired Woman”)." Science and Education a New Dimension IX(253), no. 45 (June 25, 2021): 51–54. http://dx.doi.org/10.31174/send-hs2021-253ix45-12.
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There are many works devoted to the study of the evolution of literary motifs common for a folklore and myths “King Oedipus” and “Rustem and Suhrab”. However, there are quite a few thorough studies on their use in the literature of the postmodern era. In the postmodern period, the concept of "originality" completely disappears, which makes the reference of the author of a novel to other works of oral and written literature, in particular myths, quite frequent. Due to the fact that the mythological motif borrowed by the author undergoes changes in the process of interpretation, there is a threat that the myth will acquire a new form, which may lead to its complete remoteness from the original source. This article is devoted to the study of the process of deformation of such motifs in the chain "folklore-mythologyliterature" and determining the stage at which the myths are located. Prospects for further research lie in the analysis of the functioning of the motives we have studied in other novels written in the postmodern era
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Michaelis, K. "A critical analysis of Pier Paolo Pasolini’s African Oresteia." Literator 17, no. 2 (April 30, 1996): 79–90. http://dx.doi.org/10.4102/lit.v17i2.604.
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Pasolini's Appunti per un’Orestiade africana (1970) is a metaphorical film, inspired by the Greek legend of Orestes, in which Pasolini views postcolonial African history through the lens of mythology. His portrait of the birth of “modern” Africa is an attempt to narrate the passage from past to present and to salvage "prehistory" through his dream of the unification of the rational, democratic state and the irrational, primal slate of being. It is, however, a dream punctuated by contradictions and paradoxes, a dream which Pasolini will later abandon. Yet it is significant in the overall development of Pasolini's genre.
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Deacy, Susan. "Greek Mythology - (R.D.) Woodard (ed.) The Cambridge Companion to Greek Mythology. Pp. xvi + 536, pls. New York: Cambridge University Press, 2007. Paper, £18.99, US$29.99 (Cased, £50, US$90). ISBN: 978-0-521-60726-1 (978-0-521-84520-5 hbk)." Classical Review 59, no. 2 (September 15, 2009): 602–3. http://dx.doi.org/10.1017/s0009840x09001310.
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Young, Frances. "Naked or Clothed? Eschatology and the Doctrine of Creation." Studies in Church History 45 (2009): 1–19. http://dx.doi.org/10.1017/s0424208400002370.
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A Paper on life after death in the early church should probably begin with the underworld: Sheol in the Hebrew Bible, Hades, in Greek mythology, with parallels in ancient Mesopotamia, Egypt and Persia. It should reflect on the universally connected theme of judgment and its importance for theodicy, and address the wide variety of beliefs discernible in the New Testament and its background, especially in the apocalyptic literature. It should consider the so-called intermediate state, and the supposed distinction between the Greek concept of the immortality of the soul and the Hebrew idea of resurrection: which takes us full circle, since the latter notion assumes the picture of shades in the underworld brought back to full-bodied living – as indeed the traditional Anastasis icon of the Eastern Orthodox tradition makes dramatically clear, Christ springing up from the grave and hauling Adam up with one hand and, often though not invariably, Eve with the other.
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Nischik, Reingard M. "Myth and Intersections of Myth and Gender in Canadian Culture: Margaret Atwood’s Revision of the Odyssey in The Penelopiad." Zeitschrift für Anglistik und Amerikanistik 68, no. 3 (November 26, 2020): 251–72. http://dx.doi.org/10.1515/zaa-2020-2003.
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AbstractThe first part of the article deals with the national myths of Canada. It demonstrates that the long-time supposed lack of myths in Canada may itself be regarded as a myth. After presenting useful meanings of the term myth, the intersections of myth/mythology and gender are considered, both in Canadian culture and in Greek mythology. Linking Homer’s Iliad and Odyssey—the canonized beginnings of Western literature and their foundation on ancient myth—with Canadian culture, Margaret Atwood’s works and their treatment of ancient and social myths are then focussed on, particularly her revisionist rewriting of Homer’s Odyssey in her novel The Penelopiad (2005). This women-centered rewriting of the originally male-dominated story starts from two issues: what led to the hanging of the 12 maids, and what was Penelope really up to? Among the results are an intriguing re-conception of the original main characters, an upgrading of female domestic life, and a debunking not only of Odysseus and his supposedly heroic deeds but also of the authority of ancient myths where precarious not least concerning their conception of gender and gender relations.
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Koutsoyiannis, Demetris, and Nikos Mamassis. "From mythology to science: the development of scientific hydrological concepts in Greek antiquity and its relevance to modern hydrology." Hydrology and Earth System Sciences 25, no. 5 (May 10, 2021): 2419–44. http://dx.doi.org/10.5194/hess-25-2419-2021.
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Abstract. Whilst hydrology is a Greek term, it was not in use in the Classical literature, but much later, during the Renaissance, in its Latin form, hydrologia. On the other hand, Greek natural philosophers (or, in modern vocabulary, scientists) created robust knowledge in related scientific areas, to which they gave names such as meteorology, climate and hydraulics. These terms are now in common use internationally. Greek natural philosophers laid the foundation for hydrological concepts and the hydrological cycle in its entirety. Knowledge development was brought about by searches for technological solutions to practical problems as well as by scientific curiosity. While initial explanations belong to the sphere of mythology, the rise of philosophy was accompanied by the quest for scientific descriptions of the phenomena. It appears that the first geophysical problem formulated in scientific terms was the explanation of the flood regime of the Nile, then regarded as a paradox because of the spectacular difference from the river flow regime in Greece, i.e. the fact that the Nile flooding occurs in summer when in most of the Mediterranean the rainfall is very low. While the early attempts were unsuccessful, Aristotle was able to formulate a correct hypothesis, which he tested through what appears to be the first scientific expedition in history, in the transition from the Classical to Hellenistic periods. The Hellenistic period brought advances in all scientific fields including hydrology, an example of which is the definition and measurement of flow discharge by Heron of Alexandria. These confirm the fact that the hydrological cycle was well understood in Ancient Greece, yet it poses the question why correct explanations were not accepted and, instead, why ancient and modern mythical views were preferred up to the 18th century.
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Hamad, Mohammad. "Symbolism of Water in Classic and Modern Arabic Literature." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 258–65. http://dx.doi.org/10.36892/ijlls.v2i4.367.
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Water in Arabic literature has literal and symbolic meanings. Water is one of the four elements in Greek mythology; life would be impossible without water and it is a synonym for life; life originated in water. Springs, wells, rain, seas, snow, and swamps are all associated with water. Each form of water may take on a different manifestation of the original from which it comes about. Arabic literature employs the element of water in poetry, the short story, and the novel. We find it in titles of poems: Unshudat al-matar (Hymn of the Rain) and Waj’ al-ma’ (The Pain of Water); and novels: Dhakirat al-ma’ (The Memory of Water); Taht al-matar (Under the Rain); Matar huzayran (June Rain); Al-Bahr khalf al-sata’ir (The Seas Behind the Curtains); Rahil al-bahr (Departure of the Sea); and many others. This study aims to answer the following questions: How does the element of water manifest in Arabic literature? What are the semantics and symbolism of the different forms of water in the literary imaginary? The study refers to six different significations for water in classical and modern Arabic literature: water as synonymous with life, purity and the revelation of truth, separation and death, fertility and sex, land and homeland, and talent and creativity.
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Tyupa, Valery I. "The Pivotal Narratological Category in Historical Perspective." Studia Litterarum 6, no. 1 (2021): 10–31. http://dx.doi.org/10.22455/2500-4247-2021-6-1-10-31.
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The article examines narrative strategies in their historical dynamics. It singles out the so-called narrative worldview and the ethos of narrativity as basic parameters of a narrative strategy. Heroic legends and fairy tales inherited a precedent worldview and the ethos of peace from mythology. The post-mythological development of religious consciousness leads to a narrative strategy of the parable type that implies an imperative world model and prescriptive ethos, as implemented, for example, in the Old Testament. The narrative strategy of the New Testament stands out due to the constructive combination of the precedent worldview and a fundamentally new ethos of personal solidarity. The practice of telling jokes and ancient Greek adventure novels develop a circumstantial world model and the ethos of self-realization. Finally, the classic novel explores the probabilistic worldview and becomes a basis of several new narrative strategies that vary in their ethos.
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Quigley, Narda R., Catherine G. Collins, Cristina B. Gibson, and Sharon K. Parker. "Team Performance Archetypes: Toward a New Conceptualization of Team Performance Over Time." Group & Organization Management 43, no. 5 (August 16, 2018): 787–824. http://dx.doi.org/10.1177/1059601118794344.
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We examine the concept of team performance and propose a framework to understand patterns of change over time. Following a literature review on team performance (focusing on empirical articles published between 2007 and 2017) and drawing on Greek and Roman mythology, we identify five team performance trajectories: “Jupiter” (consistently high performing), “Neptune” (relatively steady, average performance), “Pluto” (low performing), “Icarus” (initially high performing, with a downward spiral), and “Odysseus” (initially low to midrange performing, with an upward spiral), which we refer to as “team performance archetypes.” We discuss how they might be used in conjunction with growth modeling methodology to help facilitate theory building and data collection/analysis with respect to team performance. In addition, we discuss the future research implications associated with using the archetypes to help conceptualize patterns of team performance over time.
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Magee, Paul. "Quartet: On the Theme of to Portray is to Betray." Cultural Studies Review 10, no. 1 (September 2, 2013): 105–17. http://dx.doi.org/10.5130/csr.v10i1.3526.
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Art does not deceive its readers with an illusion of reality, as the common-sense notion has it, but rather pretends to deceive them. For the communicative power of the work of art lies precisely in the fact that we recognise its artificiality, its status as a work within a given genre, following certain conventions, set in a particular frame. What the work really points to, beyond the page, is the existence and actions of a creative consciousness, as that consciousness works through a given set of symbols to express itself. For reading is all about experiencing another’s mind. In the lack. Which makes it a matter of desire. My purpose in the following is to use literature to crack open the everyday, to write about neurosis and psychosis, how they write their way into the real world around us, the dinner table, this novel, a Greek tragedy, I mean Oedipus complex.
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Stelnik, Evgeny V. "From Ideology to Methodology: The Term “Charon’s Obol” in Modern Archaeological Discourse." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 75–85. http://dx.doi.org/10.15826/izv2.2021.23.2.026.
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This article deals with the paradoxical situation associated with the use of the term “Charon’s obol” in modern archaeological discourse. The term “Charon’s obol” turned into an unspoken normative historiographical rule and an “indisputable” explanatory model. At the same time, the term itself is essentially “empty”, and does not need to be argued, being the evidence arising from the “natural” logic of archaeological research. Archaeological discourse turns the discovery of “Charon’s obol” into a “natural” inevitability. Almost any coin (of any material and value) of ancient and early Middle Ages found in Europe, Scandinavia, the Far East, or Central Asia, is usually declared “Charon’s obol” by researchers. Surprisingly, the further the region is located from the ancient Greek poleis, the more coins dedicated to Charon archaeologists find. Moreover, in historiography, Charon has become an unambiguous symbol not only of ancient Greek book mythology, but also of the entire ancient Greek culture. The paradox of the situation is that Charon, the ideas of the researchers about whom constitute the content of the term, did not need coins, and the “ancient Greek funeral rite” which the authors appeal to as a model of “payment to Charon” did not imply any payments to Charon. The term is a result of uncritical reading of ancient classical literature. The term “Charon’s obol” cannot be filled with content, but is an artificial ideological construction related to the research tradition based on the ideas of European Romanticism (concepts of I. I. Winkelman and I. V. Goethe).
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Zavyalova, G. A. "THE SOURCES OF PRECEDENTIALITY IN DETECTIVE DISCOURSE." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 195–99. http://dx.doi.org/10.21603/2078-8975-2017-2-195-199.
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The article takes cognitive approach to precedent phenomena studies. The sources of precedentiality in detective discourse are Greek and Roman mythology, the Bible, folklore texts, Shakespeare’s texts and classical European literature. In the analyzed texts universal-precedent and national-precedent phenomena of all the types are presented. Precedent names actualize precedent situations or act as namessymbols, precedent utterances appeal to precedent texts as reference standards. The analyzed material lets us deduce that incorporating Shakespearean, biblical and mythological topics, characters and images into detective texts is determined by authors’ intention to improve the status of their works as well as by universality of these topics and their criminal nature. Analyzing the sources of precedentiality within the cognitive approach may be of interest for studying transformations that take place within the genres based on the system-forming concepts.
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Hovhannisyan, Gayane R. "The time of human thoughts and deeds." Cognitive Linguistic Studies 5, no. 2 (December 31, 2018): 410–25. http://dx.doi.org/10.1075/cogls.00027.hov.
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Abstract A mysterious part of our physical and psychological models of the world is Time. Its cognitive representation has evolved from Mythology through Literature to Physics. In ancient times, it was Kala of the Indo-Europeans, Chronos of the Greek gods, and the Kirke of Odyssey whose world could make heroes forget about anything. Then came Renaissance, the gradual awakening of the Time of Soul, the swing of philosophical mind between material and ideal worlds, its acceleration to the Relativity of Einstein, and the recent collapse on the Quantum Theory and to new biocentric passages. Shakespeare’s world of human mind and characters is so diverse and opulent, that anyone can find and emulate natural and supernatural phenomena in it, getting food for philosophical, psychological contemplation and even ideas for quantum-physical speculations. The truth is that Time molds the world of matter with the subjective world of human dreams and deeds.
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Clark, Christina A. "Woodard, R.D. (ed.) 2007. The Cambridge Companion to Greek Mythology (Cambridge Companions to Literature). Cambridge, Cambridge University Press. xvi, 536 p. Pr. £18.99 (pb)." Mnemosyne 63, no. 1 (2010): 155–58. http://dx.doi.org/10.1163/002670710x12603307970874.
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Mihály, Vilma. "Europe’s Fe/Male Identity." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 33–41. http://dx.doi.org/10.2478/ausp-2014-0003.
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Abstract The following study discusses Europe’s identity focussing upon questions such as how Europa’s destiny-the next of kin from Greek mythology-has influenced that of the continent, the relationship between Europe and its nations or Europe’s role in the world. According to French anthropologist Annick de Souzenelle. there is a lunar, that is female and a solar, that is a male side to both Europa and Europe but whereas the mythical figure failed to find and integrate the opposite within herself, Europe does still have the opportunity to discover its solar aspects and reach unity within itself and the world as a whole. Apart from the theory the present paper also tries to give examples from different fields of study such as politics, philosophy and literature, which shall underline Europe’s fe/male identity and role. e. g. Winston Churchill's Iron Curtain Speech. Jose Ortega y Gasset’s Meditation on Europe. Sándor Márai’s Europe’s Abduction or Czeszlaw Milosz’s Native Realm.
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Budin, Stephanie Lynn. "Erotic Mythology - (B.) Breitenberger Aphrodite and Eros. The Development of Erotic Mythology in Early Greek Poetry and Cult. Pp. x + 296, ills. New York and Abingdon: Routledge, 2007. Cased, £65, US$100. ISBN: 978-0-415-96823-2." Classical Review 59, no. 2 (September 15, 2009): 338–40. http://dx.doi.org/10.1017/s0009840x09000067.
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Mitevski, Vitomir. "The Influence of Ancient Greek Culture on Macedonian Literature of the 19th Century." Colloquia Humanistica, no. 1 (July 22, 2015): 19–31. http://dx.doi.org/10.11649/ch.2012.002.
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The Influence of Ancient Greek Culture on Macedonian Literature of the 19th CenturyIn Macedonia under the Ottoman rule during the nineteenth century, the Macedonian people-the nation is subject to political pressure and the cultural influence of Turkey and other countries. Under the influence of propaganda leading by Athens and education politics in the area of contemporary Republic of Macedonia, some Macedonian militant intellectuals embraced, at the same time, were influenced by romanticism and the Old-Greek culture, which strongly affect their literary works. In this context, two authors are viewed as the most significant-Jordan Hadji Murad Konstantinov Džinot and Grigor Prlichev. Džinot is the author of dramatized dialogue inspired by the classic Greek mythology, at the school, where he is a teacher. On the pages of the press he announces the publication of its ancient-themed dramas, however, for unknown reasons, none of them does not appear in print. Prlichev well knew the Old-Greek and is an admirer of the works of Homer. Influenced by the poetry of Homer writes in an epic poem in the archaized Greek. Wpływ starogreckiej kultury na literaturę macedońską w XIX wiekuW ramach imperium osmańskiego, którego częścią jest Macedonia w ciągu XIX wieku, macedoński lud-naród podlega politycznej presji i wpływom kulturowym ze strony Turcji i innych państw. Pod wpływem propagandy, którą prowadzą Ateny i która wyraża się m.in. w zakładaniu swoich szkół w Macedonii, niektórzy macedońscy intelektualiści, ogarnięci w tym samym czasie wpływami romantyzmu poznają kulturę starogrecką, co silnie wpłynie na ich twórczość literacką. W tym kontekście wybijają się dwie najbardziej znaczące postaci – Jordan Hadži Konstantinov-Džinot i Grigor Prličev. Džinot jest autorem dramatyzowanych dialogów inspirowanych klasyczną, starogrecką mitologią, wystawianych w szkole, w której sam jest nauczycielem. Na łamach prasy zapowiada publikację swoich dramatów o tematyce antycznej, jednak z niewiadomych przyczyn żaden z nich nie pojawia się w druku. Prličev dobrze zna starogrecki i jest znawcą twórczości Homera. Pod wpływem poezji Homera pisze w archaizowanym języku greckim poemat epicki zatytułowany ‛Ο 'Aρματωλός (w macedońskim przekładzie Сердарот albo Мартолозот), który przynosi mu zwycięstwo w konkursie poetyckim w Atenach w 1860 roku. Jego drugie dzieło epickie zatytułowane Σκενδέρμπεης jest napisane także w duchu poezji Homera, głównie jeśli chodzi o styl (epitety i porównania) i kompozycję (opracowanie typowych dla eposu motywów tematycznych). Obydwaj są także tłumaczami, Džinot zapowiada w prasie przekład Antygony Sofoklesa, o losach przekładu nic nam nie wiadomo, a Prličev dokonuje poetyckiego przekładu Iliady Homera na wymyślony przez siebie język, który jest w istocie mieszanką języków słowiańskich, a sam autor nazywa go "ogólnosłowiańskim". Влијанието на старогрчката култура врз македонската литература во XIX–иот векВо рамките на Турската Империја од која Македонија е дел во текот на 19-иот, македонскиот народ е изложен на политичка пресија и културното влијание и на Турција и на некои соседни држави. Под влијание на пропагандата на владата во Атина која отвора свои школи во Македонија, а во исто време и зафатени од бранот на романтизам, некои македонски интелектуалци се запознаваат со старогрчката култура што ќе остави силен печат врз нивното литературно творештво. Во тој поглед се издвојуваат две најзначајни имиња – Јордан Хаџи Константинов Џинот и Григор Прличев.Џинот се јавува со драмски дијалози инспирирани од класичната старогрчка митологија кои се изведуваат на приредбите во школите во кои тој е учител, а во печатот најавува објавување на свои драми со античка тематика кои, од непознати причини, не се појавиле.Прличев е добро образован во старогрчкиот јазик и особено добар познавач на Хомер. Под влијание на хомерската поезија, тој пишува на еден архаизиран грчки јазик епска поема под наслов ‛Ο ’Aρματωλός (во македонски превод Серадот или Мартолозот) и со неа победува на поетскиот конкурс во Атина 1860 година.Второто негово епско дело под наслов Σκενδέρμπεης исто така е напишано во духот на хомерската поезија и тоа се гледа главно во областа на стилот (епитети и споредби) и во композицијата (обработка на типични епски теми). На преведувачки план, Џинот најавува во печатот превод на трагедијата Антигона од Софокле, дело чија судбина исто така не ни е позната, а Прличев пишува препев на Хомеровата Илијада на еден посебен јазик кој претставува смеса од словенските јазици, а самиот автор го нарекува „општословенски“.
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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 (December 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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Seaford, Richard. "Spaced Out Oedipus - L. Edmunds: Theatrical Space and Historical Place in Sophocles' Oedipus at Colonus (Greek Studies: Interdisciplinary Approaches). Pp. xii + 189. Lanham, Boulder, New York, and London: Rowman & Littlefield, 1996. $57.50 (Paper, $22.95). ISBN: 0-8476-8319-2 (0-8476-8320-6 pbk)." Classical Review 48, no. 1 (April 1998): 4–5. http://dx.doi.org/10.1017/s0009840x00330098.
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Hobden, Fiona. "COMPANION TO GREEK MYTH - K. Dowden, N. Livingstone (edd.) A Companion to Greek Mythology. Pp. xxviii + 643, ills, maps. Malden, MA and Oxford: Wiley–Blackwell, 2011. Cased, £120, €144, US$199.95. ISBN: 978-1-4051-1178-2." Classical Review 63, no. 2 (September 12, 2013): 587–89. http://dx.doi.org/10.1017/s0009840x13001339.
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