http://hdl.handle.net/11089/20705 Mon, 13 Apr 2026 12:37:16 GMT 2026-04-13T12:37:16Z https://dspace.uni.lodz.pl:443/bitstream/id/e292a10d-040c-410b-b7f6-a70f52eed2ba/ http://hdl.handle.net/11089/20705 http://hdl.handle.net/11089/21037 Podsłuchać tajemnicę poety… Ajschylos i reminiscencje ajschylejskie w twórczości Jana Kasprowicza Bibik, Barbara Jan Kasprowicz, lived in 1860–1926, whose fame and glory is nowadays in the shadow, in his time was considered one of the greatest and most important Polish poets and authors. He was a diligent translator, who made Polish public accustomed with a great number of pieces of worldwide literature. He made about eighty translations of different works which is a huge and rare number, especially when taking into account only one person who was at the same time an author of his genuine works, an academic scholar and a journalist. He was fascinated and inspired by Aeschylus from the time he was a schoolboy. And thus we may find many reminiscences of Aeschylus’ poetry in his genuine works. His fascination which lasted many years culminated with the translation of Aeschylus’ tragedies into Polish. As for Kasprowicz Aeschylus was ‘the king of the tragic playwrights and the most powerful worldwide author of the tragedies’. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/21037 2016-01-01T00:00:00Z http://hdl.handle.net/11089/21036 Classical Myths and American Abstract Expressionism: The Case of William Baziotes Aguirre, Mercedes Abstract Expressionism can be seen as a valid expression of the crisis of ‘Modern Man’ and, as a result, it assumed a central role in the cultural debate of its time. Within this crisis can be situated a new form of representing the ancient myths. William Baziotes, an artist who belongs to the New York School, becomes a modern ‘myth-maker’ who creates metaphors and symbols which refer to primitive cultures and primeval worlds. If a few of his paintings allude in their title to a particular Classical myth, others, without a specific title referring to a myth, have strong affinities with mythology. Classical myths seem to be entwined with the artist’s own personal myths, interpreted through his own language and his own symbols.; El expresionismo abstracto puede ser visto como una expresión válida de la crisis del ‘hombre moderno’ y, como resultado de ello, asumió un papel central en el debate cultural de la época. Dentro de la crisis del hombre de entonces se enmarca también la nueva forma en que se representan los antiguos mitos. William Baziotes, un artista perteneciente al grupo de la New York School, se convierte en un moderno ‘constructor de mitos’ que crea metáforas y símbolos recurriendo a las culturas antiguas o primitivas o a mundos primigenios. Algunos de los cuadros de Baziotes aluden específicamente a un personaje o mito clásico, por ejemplo ‘Cíclope’, otros, sin tener un título que se refiera expresamente a un mito, parecen tener afinidades con ellos, de manera que los mitos clásicos parecen estar unidos a los propios e íntimos mitos del artista, interpretados con su propio lenguaje y sus propios símbolos. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/21036 2016-01-01T00:00:00Z http://hdl.handle.net/11089/21035 Za głosem Penelopy Bibik, Barbara Following the voice of Penelope is the review of a play based on one of the Homer’s greatest epic poem – Odyssey, staged by Ondrej Spišák in the Warsaw puppet theatre „Teatr Lalka”. This artistically beautiful, full of magic and awarded staging, first performed in 1999, still finds its audience. It is definitely worth spending an hour in the theatre to see this enchanting ancient world created on the Warsaw stage and directed by Homer himself. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/21035 2016-01-01T00:00:00Z http://hdl.handle.net/11089/21034 L’Inde dans la mise en scène des chefs-d’oeuvre européens d’Ariane Mnouchkine Hasiuk, Magdalena The text discusses influences and oriental inspirations, mainly Indian and Japanese, present in the staging of Shakespeare’s plays (Richard II, Henry IV, Part I and Twelfth Night), Euripides (Iphigenia at Aulis) i Aeschylus (Oresteia) in the Théâtre du Soleil. Owing to the incorporation of ‘the imagined orient’ in the Shakespearean cycle, Mnouchkine evoked the image of the world immersed in the supernatural. Placing Iphigenia at Aulis before Oresteia, the director created her own tetralogy. Consciously applying staging strategies, she did not use Greek documents but instead combined documentation from Turkey and the Caucasus with oriental traditions such as kathakali and bharata-natyam. Drawing on references which were unknown (or long since forgotten) and never before used, she staged ‘probably the richest and the most satisfactory of all productions of Athenian tragedies’ (Ubersfeld). Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/21034 2016-01-01T00:00:00Z