Pub Date : 2023-10-13DOI: 10.15388/litera.2023.65.3.2
Dina Eiduka
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This paper analyzes the translations of Antigone by Sophocles and later authors and the performances based on them in the theaters of Estonia, Latvia and Lithuania. It investigates the necessity to translate the Antigone dramas by Sophocles, Jean Anouilh and Janusz Głowacki into national languages and stage them in theaters. The article analyzes how these works are related to the history of the Baltic countries. This paper is divided into three subparts that match the historical periods from the end of the nineteenth century to the beginning of the twenty-first century. The most important performances of Antigone in the Baltic countries are analyzed, highlighting the individual style of each director and their attention to the form and expression of the performances. The main themes revealed by the artists of the Baltic countries are conscious self-sacrifice for one’s neighbor and individual resistance to conformity and tyranny.
{"title":"Reception of Sophocles’ Antigone in the Baltic States","authors":"Maria-Kristiina Lotman, Līva Bodniece, Jovita Dikmonienė","doi":"10.15388/litera.2022.64.4.13","DOIUrl":"https://doi.org/10.15388/litera.2022.64.4.13","url":null,"abstract":"This paper analyzes the translations of Antigone by Sophocles and later authors and the performances based on them in the theaters of Estonia, Latvia and Lithuania. It investigates the necessity to translate the Antigone dramas by Sophocles, Jean Anouilh and Janusz Głowacki into national languages and stage them in theaters. The article analyzes how these works are related to the history of the Baltic countries. This paper is divided into three subparts that match the historical periods from the end of the nineteenth century to the beginning of the twenty-first century. The most important performances of Antigone in the Baltic countries are analyzed, highlighting the individual style of each director and their attention to the form and expression of the performances. The main themes revealed by the artists of the Baltic countries are conscious self-sacrifice for one’s neighbor and individual resistance to conformity and tyranny.","PeriodicalId":432201,"journal":{"name":"Literatūra","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123708616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.15388/litera.2022.1.6
Aistė Kučinskienė
Viktorija Šeina, Savas svetimas dainius. Adamas Mickiewiczius lietuvių literatūros kanone (1883–1940): monografija, Vilnius: Lietuvių literatūros ir tautosakos institutas, 2021, 304 p.
{"title":"In Search of “Cultural Saints”","authors":"Aistė Kučinskienė","doi":"10.15388/litera.2022.1.6","DOIUrl":"https://doi.org/10.15388/litera.2022.1.6","url":null,"abstract":"Viktorija Šeina, Savas svetimas dainius. Adamas Mickiewiczius lietuvių literatūros kanone (1883–1940): monografija, Vilnius: Lietuvių literatūros ir tautosakos institutas, 2021, 304 p.","PeriodicalId":432201,"journal":{"name":"Literatūra","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121554867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.3.3
Matas Keršys
Modern opponents of free will often aim to demonstrate its unviability by employing the standard argument against free will, which claims that either determinism or randomness is true, and that both options preclude free will. It is frequently assumed that Epicurus defended free will by positing the swerve as a third, uncaused type of atomic motion. This makes Epicurus vulnerable to criticism via the standard argument by seemingly committing him to randomness. This paper asks whether Epicurus can avoid the criticisms of the standard argument and seeks to show that he is not as vulnerable as first appearances indicate. A closer look at De Rerum Natura 2.251–293 reveals the important role of the independent deliberating mind in acts of free volition, while the claim that free volitions are a basic, sense-perceptible aspect of reality raises the question as to whether the swerve really was Epicurus’ main defence of free will.
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Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.3.2
Vilius Bartninkas
In Plato’s later ethics, the key challenge to one’s personal progress is unorderly thoughts and motions of soul. This disorder should be corrected by recognising and repeating the orderly thoughts and motions of cosmic gods. This paper examines the theoretical assumptions of Plato’s later ethics. A closer analysis of the Timaeus reveals a peculiar conception of mathematics, according to which numbers and their relations not only reveal facts about the reality, but also express values and ideals. By learning mathematics human beings come to know the everyday ethical life of cosmic gods and become like them.
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Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.4.15
Beatrice Melodia Festa
Martin Scorsese declared that The Age of Innocence is the most violent film he ever made. This contribution aims to examine Scorsese’s representation of emotional violence on screen as opposed to Wharton’s illustration of psychological and emotional abuse in the novel. The essay aims to explore violence in The Age of Innocence, represented both in the novel and in the film as a subtle and crucial theme, so as to examine how Scorsese’s adaptation contrasts with Wharton’s narrative. As such, this interpretation aims to prove how The Age of Innocence stands apart, because of its significance in Scorsese’s career, and how both novel and film go way beyond the conventions of romance by illustrating female emancipation through an exquisite display of moral abuse and psychological manipulation, which Scorsese re-elaborates on screen through a devastating sense of moral frustration. Charting parallels between the novel and the film, the analysis will show how Scorsese re-elaborates a non-graphic form of violence, earlier outlined in the novel by Wharton, through a devastating visual tension. Ultimately, this analysis seeks to offer a reinterpretation of Wharton’s novel through Scorsese’s film adaptation.
{"title":"Emotional Violence from the Page to the Screen: Moral Abuse and Psychological Manipulation in The Age of Innocence from Edith Wharton to Martin Scorsese","authors":"Beatrice Melodia Festa","doi":"10.15388/litera.2022.64.4.15","DOIUrl":"https://doi.org/10.15388/litera.2022.64.4.15","url":null,"abstract":"Martin Scorsese declared that The Age of Innocence is the most violent film he ever made. This contribution aims to examine Scorsese’s representation of emotional violence on screen as opposed to Wharton’s illustration of psychological and emotional abuse in the novel. The essay aims to explore violence in The Age of Innocence, represented both in the novel and in the film as a subtle and crucial theme, so as to examine how Scorsese’s adaptation contrasts with Wharton’s narrative. As such, this interpretation aims to prove how The Age of Innocence stands apart, because of its significance in Scorsese’s career, and how both novel and film go way beyond the conventions of romance by illustrating female emancipation through an exquisite display of moral abuse and psychological manipulation, which Scorsese re-elaborates on screen through a devastating sense of moral frustration. Charting parallels between the novel and the film, the analysis will show how Scorsese re-elaborates a non-graphic form of violence, earlier outlined in the novel by Wharton, through a devastating visual tension. Ultimately, this analysis seeks to offer a reinterpretation of Wharton’s novel through Scorsese’s film adaptation.","PeriodicalId":432201,"journal":{"name":"Literatūra","volume":"83 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131518346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.3.4
Mantas Adomėnas
The article analyzes Juvenal’s use of Democritean material in his tenth Satire. The famous juxtaposition of laughing Democritus and weeping Heraclitus (which popularized and perpetuated the image of contrasting philosophers) is habitually interpreted in terms of Juvenal’s poetic strategy, as indicating the shift in the tone of his satires and the change of Juvenal’s stance from the anger as the dominant emotion of his earlier satires to laughter and irony of the later ones. There is a tendency to assume that the totality of Democritean material in Juvenal 10 derives solely from Seneca. However, close reading of the concluding lines of the Satire suggests a different argumentative strategy and deeper engagement with Democritus’ thought by Juvenal. The comparison with Pseudo-Hippocratic ‘epistolary novel’ suggests Cynic diatribai as the source of the Democritean material in Juvenal 10.
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Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.3.6
F. Eloeva
The paper presents an attempt to reconstruct the original method of mastering the Modern Greek, created for classical philologists by a talented researcher and classical philologist Jules David. Jules David (Charles-Louis-Jules David, 1783–1854) was the son of Jacques-Louis David (1748–1825), apparently the most successful and well paid artist in the entire history of France, the creator of neoclassicism. We will try to show that his scientific conception presents an interesting attempt to establish a connection between the ancient and modern state of the Greek continuum. Jules David’s linguo-didactic approach is innovative and unexpected – while discussing the standard of the Greek language, he managed to combine elegantly the descriptive and prescriptive aspects of the language analysis. His main work, the Comparative description of the Ancient Greek and Demotic Languages (Συνοπτικός παραλληλισμός της ελληνικής και γραικικής απλοελληνικής γλώσσης) is a fascinating attempt to establish the parallels of the Ancient Greek and Modern Greek languages. In addition Jules David set himself another and not trivial task indeed – to make classical philologists, dealing with the Ancient Greek, feel that they are dealing with a living language, and not with a dead scheme. We believe that this strategy of David, due to its originality, has not been fully understood by researchers and can be compared with the views of another outstanding neo-Hellenist and philosopher Nikolaj Bakhtin, the brother of philosopher Mikhail Bakhtin (1884–1950).
本文试图重建由天才学者、古典语言学家朱尔斯·大卫为古典语言学家创造的掌握现代希腊语的原始方法。Jules David (Charles-Louis-Jules David, 1783-1854)是Jacques-Louis David(1748-1825)的儿子，Jacques-Louis David显然是整个法国历史上最成功、收入最高的艺术家，是新古典主义的创造者。我们将试图表明，他的科学概念提出了一种有趣的尝试，试图在希腊统一体的古代和现代国家之间建立联系。朱尔斯·大卫的语言教学方法是创新的和意想不到的——在讨论希腊语言的标准时，他成功地将语言分析的描述性和规范性方面优雅地结合起来。他的主要著作《古希腊和民间语言的比较描述》(Συνοπτικός παραλληλισμός της ελληνικ ς ς και γραικικ ς ς απλοελληνικ ς γλώσσης)是一项建立古希腊和现代希腊语言相似之处的迷人尝试。此外，朱尔斯·大卫给自己设定了另一项相当重要的任务——让研究古希腊语的古典语言学家感到，他们在研究一种活的语言，而不是一种死的语言。我们认为，大卫的这一策略由于其独创性，尚未被研究人员完全理解，可以与另一位杰出的新希腊学家和哲学家尼古拉·巴赫金的观点进行比较，他是哲学家米哈伊尔·巴赫金(Mikhail Bakhtin, 1884-1950)的兄弟。
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Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.4.14
Domenico Cufalo
In the middle of the sixteenth century, Bernardo Segni (Florence, 1504 – Florence, 1588) published some Italian translations with commentaries on some works of Aristotle. He was not a scholar nor did he have a university affiliation nor could he boast a deep knowledge of Greek language, but he worked in the cultural climate of Duke of the Florentine Republic Cosimo I (Florence, 1519 – Florence, 1574) and of the Florentine Academy, whose aim was to raise the cultural centrality of Florence and its dialect. In this paper I analyze some passages of his translation and commentary on Aristotle’s Ethica Nicomachea (Florence 1550; reprint Venice 1551). Through this examination some characteristics of the author’s work emerge, such as his didactic purposes, which may be related to the type of his audience, his (poor) knowledge of classical authors and sources, and his tendency towards continuous dialogue with the present.
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Pub Date : 2022-12-30DOI: 10.15388/litera.2022.64.1.3
Dalia Pauliukevičiūtė
The article investigates Józef Weyssenhoff’s novel The Sable and the Girl (Polish: Soból i panna) published in 1911. The name of its author is rarely mentioned when discussing the Polish literature of the late 19th and early 20th century. Most literary critics agree, however, that the signature feature in Weyssenhoff’s works is his poetic descriptions of nature and hunting, especially in aforementioned work. The article analyses the interplay of Lithuanian and Polish cultures in this text as well as its Lithuanian literary geography. The question is raised as to what cultural and literary meanings might have been concentrated in the novel at the turn of the 20th century, and what Polish-Lithuanian cultural connections were revealed due to it. The article introduction offers a brief overview of the changes in depicting hunting in Western literature and cultural tradition, and considers to what extent those insights are still valid when analysing the works of various authors attributed to and impacted by the legacy of the Grand Duchy of Lithuania. The article further traces the competing plots of love and hunting in Weyssenhoff’s novel, and the writer’s ambition to employ the symbol of the lost world – hunting. A combination of extratextual references, internal textual relations, and detectable intertexts has been employed to interpret the novel; therefore, when delving into the development of the narrative, none of the theories (e.g., intertextuality) is clearly dominant. When discussing The Sable and the Girl in the Lithuanian cultural field, the historical contexts of the early 20th century Russian Empire, the intertexts of Polish literary tradition as well as the concept of hunting and a colonial look at the sociocultural environment where the narrative is developed remain of similar significance.
本文考察了Józef魏森霍夫1911年出版的小说《貂和女孩》(波兰语:Soból i panna)。在讨论19世纪末和20世纪初的波兰文学时，作者的名字很少被提及。然而，大多数文学评论家都同意，韦森霍夫作品的标志性特征是他对自然和狩猎的诗意描述，尤其是在前面提到的作品中。本文分析了本文中立陶宛和波兰文化的相互影响以及立陶宛文学地理。人们提出的问题是，在20世纪之交，这部小说可能集中了什么样的文化和文学意义，以及由此揭示了波兰和立陶宛的哪些文化联系。文章的引言简要概述了西方文学和文化传统中描写狩猎的变化，并在分析立陶宛大公国遗产所影响的各种作者的作品时，考虑到这些见解在多大程度上仍然有效。文章进一步追溯了韦森霍夫小说中爱情与狩猎的竞争情节，以及作者运用失落世界的象征——狩猎的野心。文本外参考、内部文本关系和可察觉的互文的组合被用来解释小说;因此，当深入研究叙事的发展时，没有一个理论(如互文性)是明显的主导。当在立陶宛文化领域讨论《黑貂与女孩》时，20世纪初俄罗斯帝国的历史背景、波兰文学传统的互文、狩猎的概念以及对叙事发展的社会文化环境的殖民观察仍然具有类似的意义。
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