880 Hellenische Literaturen; Klassische griechische Literatur
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Die erhaltene Sammlung von achtzig Schriften des Dio von Prusa stellt ein bunt zusammengewürfeltes Durcheinander von Prosastücken dar, die in Stil, litterarischer Form und Umfang mannichfach von einander abweichen. Durch Philostratus, Synesius, Suidas wissen wir von der Existenz einer beträchtlichen Anzahl dionischer Schriften, die in unserer Sammlung nicht erhalten sind. Abgeselien von ihrer Unvollständigkeit, zeigt der ganze Zuschnitt derselben, dass wir es nicht mit einer vom Autor selbst besorgten Sammlung zu thun haben. Es ist von Wichtigkeit, mit voller Scharfe die Schlüsse zu ziehen, die sich theils aus dem Zustande der Sammlung, theils aus sonstiger Ueberlieferung für die Entstellung und Geschichte derselben ziehen lassen. ...
Ineditum Vaticanum
(1892)
Während die Papyrusforschung uns in neuerer Zeit so grosse Gaben wie eine neue Schrift des grössten Philosophen und einen neuen griechischen Dichter geschenkt hat, sind aus der Handschriftenforschung wohl kaum noch neue classische Texte von solchem Umfang und solcher Bedeutung zu erwarten. Dass aber doch auch auf diesem Felde, ganz abgesehen von Dichterfragmenten, die aus Wörterbüchern und Anthologien vereinzelt nachtrüpfeln, einzelne interessante Texte, meist von geringem Umfang, der Aufmerksamkeit der Editoren bisher entgangen waren, dafür bildet das schöne epikureische Gnomologium, welches Herr Dr. WODTKE im Vatican gefunden hat, einen interessanten, zu fortgesetzter Nachforschung ermunternden Beleg. Ganz ähnlicher Art ist der Fund, der im folgenden der wissenschaftlichen Welt vorgelegt wird, obgleich es sich um einen Litteraturfetzen von geringerer Vornehmheit handelt. Nachdenklich stimmen muss namentlich auch der Umstand, dass beide Inedita, sowohl das epikureische Gnomologium als das hier folgende, in dem handschriftlichen Katalog der Vaticana, der seit lange jedem Besucher der vaticanischen Bibliothek zugänglich ist, verzeichnet sind. ...
"Das beseufze ich oft ..." : antiker Papyrus neu gefunden: Sapphos lyrische Klage über das Alter
(2007)
Die Gedichte der Sappho, die um 600 v. Chr. auf der Insel Lesbos lebte, stehen am Anfang der griechischen und damit der europäischen Literaturgeschichte; nur wenige ältere Texte sind erhalten, darunter allerdings die beiden großen Epen Homers, die Ilias und die Odyssee, auf die sich auch Sappho in ihrer Poesie häufiger bezieht. Unter den wenigen Dichterinnen der Antike ist Sappho ohne Zweifel die berühmteste: Schon das Altertum pries sie wegen der Eindringlichkeit ihrer oft homoerotisch gefärbten Dichtung als »zehnte Muse« oder schlichtweg als »Wunderding. « Trotzdem hat es die Überlieferung nicht gut mit ihr gemeint. Denn von den insgesamt neun Büchern, in denen man in der Antike ihre Gedichte las, sind heute nur noch kümmerliche Reste erhalten. Wir verdanken sie zum einen späteren Autoren, die Verse der Sappho in ihren Schriften zitiert haben. Zum anderen enthalten Fetzen von antiken Papyri, die systematische Ausgrabungen seit dem Ende des 19. Jahrhunderts vor allem in Ägypten ans Licht gebracht haben, auch Fragmente aus Sapphos Poesie.
In scholarly discussions, ancient didactic poetry is sometimes considered a 'technical' form of literature. The 'technical' aspect of didactic poems would seem to concern mainly their contents, not the poems' form, which is described instead as literary. And so, didactic poetry appears to be both 'technical' and, at the same time, more than just technical. To what extent were didactic poems considered 'artistic' in our modern sense? Or should we call them simply 'technical' poems in the sense that they deal with 'techne' as a form of practical expertise? Was the 'art' of ancient didactic poems one specific domain that ancient audiences easily identified? Or was this somewhat unclear? These are some of the key questions that I am concerned with, as I wish to explore to what extent the ancient poets themselves utilize the idea of 'techne' and what is the added value that the concept of 'techne' brings to their poetic works. I will present three authors to address these questions, namely in order: Ovid, whom I take as example of a poet who grandly advertises the presence of 'ars' in his poem; then, Archestratus of Gela, the first, partly extant poet to write 'didactic poems' in Greece in the manner that will impose itself in the following centuries, and an early example of how this poetry engages with what idea(s) about 'ars'; and, lastly, Aratus of Soli, the likely most canonical author of this type of poetry in Antiquity. This selection of authors, to be sure, does not provide a full picture of didactic poetry in Antiquity, with all its peculiarities. But it does have some paradigmatic meaning for two reasons. First, Archestratus and Aratus are significant within the history of didactic poetry, as I anticipated, because the former is a pioneer in this genre and the latter is a widely popular and influential author. Thus, analysis of their poems is useful to understand also certain features of the didactic genre more in general. Ovid's "Ars Amatoria", on the other hand, while perhaps being less influential for the whole history of the genre, becomes paradigmatic in so far as one explores the issue of didactic 'art'. For, this work features the topic of 'techne' much more extensively than many other didactic poems. But before I move to these authors, I wish to make a preamble about ancient didactic poetry as genre. For one might then wonder whether these questions about didactic poetry and 'techne' would find an easy solution if one considered first the meaning and category of the 'didactic' - a name that by itself seems to evoke the idea of knowledge and the sharing of a certain form of expertise.
This study examines how "Rebelle Antigone" (2005), a story by Marie-Thérèse Davidson intended for young readers and published in the collection 'Histoires noires de la mythologie' by Nathan, uses Henry Bauchau's novel "Antigone" (1997) to renew the intertextual dialogue with the homonymous tragedy of Sophocles, the canonical intertext of all the reconfigurations of Antigone. In other words, the author mobilizes what we could call 'l'actif relationnel' // 'relational potential' of two intertexts and two generic practices to create a new, original and challenging work for readers aged 11 to 14. This study aims to show that, far from the prejudices devaluing the so-called "children's literature", the adaptation of mythological stories for children takes up the challenge of transmitting ancient heritage in all its diversity. The use of more recent (re)writings, such as Henry Bauchau's novel, thus becomes an effective means of making the myth and its ancient intertexts both more complex and more accessible to young readers.
While for centuries Greek tragedies were performed only intermittently (Flashar 1991; Foley 1999; Macintosh et al. 2005; Hall and Macintosh 2005), the 1960s saw an enormous growth internationally in the staging of ancient dramas, and between 1960 and today, more Greek tragedies have been performed than in the entire period from antiquity to 1960.1 The new interest in ancient tragedy corresponded with a fundamental crisis in Western culture, issuing from the Shoah and gradually forcing its way into consciousness. After World War II, and especially since the 1960s, the question of history needed to be reconsidered. With the increasing dissolution of tradition, the interval between antiquity and the present became an unresolved problem. At the same time, a teleological understanding, which sees history as something that can be planned and calculated, had to be considered as failed, since fascism and communism "in the name of history" had erected totalitarian systems. What then appeared in this historical void?
The present contribution deals with the reception of the figure of Alkestis both in Greek antiquity (Euripides) and in German literature around 1900 (Hugo von Hofmannsthal, Rainer Maria Rilke). The contribution shows on the one hand that already Euripides had problems with the dramatic transformation of the antique mythological narrative into a tragic subject. On the other hand it shows that the two modern versions of the narrative of Alkestis around 1900 deal with it quite differently: Hofmannsthal’s free adaptation of the Euripidean Alkestis shifts the subject matter into a Dionysian context, in the light of Schopenhauer’s and Nietzsche’s philosophy, whereas Rilke implants themes and motifs of his own poetry in the narrative of Alkestis and amalgamates them with it.