Kobieta, polis i boskość w tragediach Eurypidesa: antropologiczne, aksjologiczne i estetyczne aspekty kobiecości
Gespeichert in:
1. Verfasser: | |
---|---|
Format: | Buch |
Sprache: | Polish |
Veröffentlicht: |
Nysa
Oficyna Wydawnicza Państwowej Wyższej Szkoły Zawodowej
2011
|
Ausgabe: | Wyd. 1. |
Schlagworte: | |
Online-Zugang: | Inhaltsverzeichnis Abstract |
Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Woman, polis and divinity in Euripides's tragedies |
Beschreibung: | 278 s. 24 cm. |
ISBN: | 9788360081594 |
Internformat
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100 | 1 | |a Smolka-Drewniak, Ewa |e Verfasser |4 aut | |
245 | 1 | 0 | |a Kobieta, polis i boskość w tragediach Eurypidesa |b antropologiczne, aksjologiczne i estetyczne aspekty kobiecości |c Ewa Smolka-Drewniak |
250 | |a Wyd. 1. | ||
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300 | |a 278 s. |c 24 cm. | ||
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337 | |b n |2 rdamedia | ||
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500 | |a Zsfassung in engl. Sprache u.d.T.: Woman, polis and divinity in Euripides's tragedies | ||
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Datensatz im Suchindex
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adam_text | Spis treści
Wstęp
...................................................................... 7
Rozdział I
Tragedia grecka i boskość
............................................... 23
1.
Tragedia i teatr jako
θεωρία
......................................... 24
2.
Widzialność i polis
..................................................... 33
3.
Miara i jej przekroczenie
.............................................. 41
4.
Tragiczny
pathos
....................................................... 45
5.
Boskość w tragediach Eurypidesa
................................... 55
Rozdział
II
Od mitu do tragedii: doświadczenie i artykulacja kobiecości
w ateńskiej polis okresu klasycznego
................................. 67
1.
Kobiecość jako archetyp mitologiczny: konflikt pomiędzy
płodnością a przemocą
................................................ 69
2.
Pomiędzy
pramatka
ziemią a ojczyzną-po/Zs
....................... 78
3.
Dialektyka pierwiastka męskiego i żeńskiego
..................... 86
4.
Kobiecość a to, co polityczne
-
kobieta w prawie ateńskim
...... 92
5.
Kobiecość jako epifania bytu: cierpienie, zemsta
i radość istnienia
....................................................... 102
Rozdział III
Kobieta w przestrzennej strukturze polis
............................ 115
1.
Środek, prawe, lewe
................................................... 116
2.
Sakralizacja przestrzeni
............................................... 125
3.
Przestrzeń bez kobiet
................................................. 136
4.
Symetria łoża
........................................................... 140
5.
Kobieta poza miastem
................................................ 145
Rozdział
IV
Krwioobieg miasta
....................................................... 155
1.
Ofiara za miasto
........................................................ 155
2.
Ofiara dla miasta
....................................................... 165
3.
Krew kobiety a krew mężczyzny
..................................... 178
4.
Śmierć wraz z miastem
............................................... 185
Rozdział
V
Oblicza erosa
.............................................................. 194
1.
Niszczące, boskie piękno kobiety
.................................... 196
2. Sparta
czy Ateny?
...................................................... 208
3.
Przeciw obcości
........................................................ 220
4.
Eros występny
.......................................................... 228
Zakończenie
............................................................... 250
Bibliografia
................................................................ 257
Summary
................................................................... 275
Woman, poiis and divinity
in
Euripides s
tragedies
The topic of the work is the analysis of Euripides s approach to the
problems of feminity. The main assumption is the thesis that the opposition
what is masculine and feminine underlies culture and is apparent both in
institutions, customs, everyday life, and in the so-called symbolic universe
of myths, literary and philosophical texts. The analysis of Euripides s trage¬
dies shows that the feminine symbolism was used in Greek tragedies to
express the crisis of Athenian
polis.
For the poet the man is set on the ac¬
tive, crisis creating side, whereas the woman is on the reactive, crisis over¬
coming side. The relationship between man and woman has been analyzed
in the light of the following areas: mythological-religious, political-social,
erotica/, spatìaì, legai
and historical.
Polis
(motherland, town, city) is, as understood by the Greek, the
land (area) organized by the man, yet remaining in strict relationship with
the divine and what is not directly related to space but still defining it: sea,
wild life, and other poleis. In
polis,
life
{zoé)
acquires typically human cha¬
racter {bios politikos) in ordering its rhythm by activities of its inhabitants,
distribution of social roles assigning them various spheres of activity,
polis
then constituted, in the Greek s opinion, an ultimate form of life (civiliza¬
tion).
Polis,
however, remains a live organism the determinants of which,
constituting its order, undergo persistent concussions: experience, at least,
seems to reveal that it was so in the policy of Athenians who indefatigably
searched for a proper political form.
It is noteworthy that a characteristic feature of Greek explication of
the world is its being genealogical: the discourses related to
polis
(myth,
tragedy and philosophy) view the essence of things by referring them to a
unique beginning, the source
(orche)
from whence they come. In this sense,
the beginning of things reflects the most essential hallmarks of
polis,
its
anxieties determining, transforming and conditioning its essence. If
polis
is
set in the context of the myth explicating the origins and social organization
of Athens, we shall notice that its emerging is linked to a peculiar attitude
of masculine political commune towards gods and women. First of all, poht-
275
Summary
¡cal
commune dissociates itself from the realm of wildlife, earth and recur¬
rent rhythm of
Ufe.
This primordial form of life is accompanied by claims to
the world of culture (civilization) laid by the divine
-
Gaya,
Dionysius, Arte¬
mis, Erinyes; their claims are, in fact, a continual reminder to the man of the
primordial guilt , i.e. of unscrupulous detachment from the natural cycle
of life. And last but not least, political commune, in its most striking way, is
a men s commune, the commune creating its own world based on the ex¬
clusion of women from political activity. Original social and political equality
of both sexes turns into social and political dominance of man-citizens since
polis
is actually a masculine communion stemming from the commune of
warrior-citizens. This first towards
polis,
the passage from the wild to the
civilization, means subjugation of earth and women, just as they are, to the
authority of the city
-
the authority of man. In other words: the city, for the
Greek, asserts its existence by civilizing earth and women. Consequently,
polis
stands for a peculiar type of political communion, womanhood and
divinity.
The woman is a life-giving force entwined in the structure of city life
and the man s order. Analogously,
Gaya
is subjected to the power of Olym¬
pian deities and human violence; this subjection denotes, at the same time,
the assertion of the order. This original human culpability related to the
mother-earth (and woman s blood)
-
defying and violating her
-
is deeply
rooted in Greek consciousness: it paves the way for the reversal of the or¬
der This power, however, is not complete, its assertion, identical to the
emergence of the human world, self-centered, leads to breaking the bonds
linking the city with the life-giving power, leads to the conflict threatening
human annihilation. The woman, then, turns into chthonic epiphany of
earth-bound powers and deities. Through her manifest themselves the
claims of divine powers for the restoration of unity and prevention from
imminent self-destruction resultant from human activity- masculine politi¬
cal communion. It is also through her that the wrath for breaching the orig¬
inal laws resulting from men s political activity, is manifested. The wrath
(Hecuba s, Clytemnestra s, Medea s wrath) is not immanent within the or¬
der, but turns against it because it rejects woman s rights. Since the woman
herself belongs to
polis,
this wrath also destroys what is dear to her.
Polis,
however, displays some inability to accept the woman and her intrinsic
powers, without which, the city can not exist.
Polis
is also characterized by
some inability to balance what is masculine and what is feminine, so inevit¬
ably, it is incessantly brought into conflict with the woman s power.
276
Woman,
polis
and divinity in Euripides s tragedies
Orientation of the political communion towards the perfection un¬
derstood in terms of masculine creativity, moves its place in relation to
holiness (divinity), to the divinity of chthonic character. On one hand, the
man detaches himself much too far from the earth, its laws and life cycle,
and on the other hand, becomes supercilious and quite dangerously comes
too close to gods. Violation of world order by masculine civilization
polis
moves divinity and the woman outside the city, puts
polis
against the threat
of its merging with the natural order. It is just at this point that the Greek
tragedy is distinctly focused on what is feminine
-
the woman, becomes, in
many ways, a symbol of order, decomposition of order, a conveyor of di¬
vine, creative, and also destructive power. Now, let s formulate the main
thesis of this article: the image of woman constitutes, in Euripides s tra¬
gedies, the image of city . By means of the image of woman , Euripides
makes an exposition of main tensions in
polis.
In Euripides tragedies, generally, Athenian
polis
(Greek culture) dis¬
plays,
!
think, some critical self-knowledge: it shows its conditions, potenti¬
alities and limitations. A tragedy becomes a knowledge preventing any crisis
from occurring, enabling to solve conflicts; in the Greek world, a crisis is
something inevitable and destructive to
polis.
Polis, as
Euripides seems to suggest, is based on duality: it both ac¬
cepts and rejects the woman. The city excludes the woman from the politi¬
cal world because
polis
is associated with a purely masculine element
-
war. From this perspective, the woman, who by nature ¡s opposed to any
bloodshed, is dangerous for the political world of men. The city, however,
needs the woman not only in a biological sense: she is an emanation of the
union between the community and the divine. The woman is a symbol of
oikos, the stability of the city. It is through the woman that the city ab¬
sorbs periodically what is divine to revive its existence. The men s world
does exist, but it can not really do without the woman. It will assert its
autonomy by claiming its motherless character
-
the strongest interrela¬
tionship between man and woman, which is presented by Dionysus.
Recurrent in Euripides^s tragedies, the spatial context of
polis
(towns)
can be schematically approached in the following way:
(1)
primordial source
of life from which the town emerges, divine place characterized by power
surplus and underlying civilization insufficiency (towns);
(2)
it is from divine
space, which is infringed upon and subjugated by man that human space
comes as
polis,
architectural ana legal order of human life;
(3)
in
polis,
be¬
cause of
man s
political communion, there is a growing conflict between
277
Summary
the divine and the human;
(4)
polis
is hit by a crisis which men can not over¬
come, so in this space, and precisely in its selected areas, there is the wom¬
an with the power violated by the man
-
destructive for the town;
(5)
the
woman has the ability to control the power as to restore the order consti¬
tuted at the beginnings of
polis;
(6)
since the city accepts divine laws, the
woman may enter her rightful place, i.e. oikos. The final moment of this
process
(7) -
the moment enabled by
(5)
and
(6) -
is the close-up of the
cycle i.e. the return to the order
(2).
Euripides shows that urban space is
inflicted by ever-returning crisis which takes its origin in human nature. The
crisis can not be prevented, and yet, thanks to the woman, overcome, al¬
though the overcoming only means returning to the order it came from.
278
ек-
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spelling | Smolka-Drewniak, Ewa Verfasser aut Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości Ewa Smolka-Drewniak Wyd. 1. Nysa Oficyna Wydawnicza Państwowej Wyższej Szkoły Zawodowej 2011 278 s. 24 cm. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Woman, polis and divinity in Euripides's tragedies Euripides ca. 485/480 v. Chr.-406 v.Chr. (DE-588)118531395 gnd rswk-swf Tragödie (DE-588)4060591-7 gnd rswk-swf Euripides trag. TLG 0006 (DE-2581)TH000001156 gbd Euripides ca. 485/480 v. Chr.-406 v.Chr. (DE-588)118531395 p Tragödie (DE-588)4060591-7 s DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024745140&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024745140&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
spellingShingle | Smolka-Drewniak, Ewa Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości Euripides ca. 485/480 v. Chr.-406 v.Chr. (DE-588)118531395 gnd Tragödie (DE-588)4060591-7 gnd |
subject_GND | (DE-588)118531395 (DE-588)4060591-7 |
title | Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości |
title_auth | Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości |
title_exact_search | Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości |
title_full | Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości Ewa Smolka-Drewniak |
title_fullStr | Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości Ewa Smolka-Drewniak |
title_full_unstemmed | Kobieta, polis i boskość w tragediach Eurypidesa antropologiczne, aksjologiczne i estetyczne aspekty kobiecości Ewa Smolka-Drewniak |
title_short | Kobieta, polis i boskość w tragediach Eurypidesa |
title_sort | kobieta polis i boskosc w tragediach eurypidesa antropologiczne aksjologiczne i estetyczne aspekty kobiecosci |
title_sub | antropologiczne, aksjologiczne i estetyczne aspekty kobiecości |
topic | Euripides ca. 485/480 v. Chr.-406 v.Chr. (DE-588)118531395 gnd Tragödie (DE-588)4060591-7 gnd |
topic_facet | Euripides ca. 485/480 v. Chr.-406 v.Chr. Tragödie |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024745140&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024745140&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
work_keys_str_mv | AT smolkadrewniakewa kobietapolisiboskoscwtragediacheurypidesaantropologiczneaksjologiczneiestetyczneaspektykobiecosci |