Vladimir Rismondo

Hegel’s viewpoint on Greek tragedy is a valuable way-station in any theoretical as well as practical consideration of dramatic play. Hegel considered Greek tragedy from the perspective of his dialectical system, thereby indirectly influencing dramaturgical practice in the 19th and 20th centuries. This is why the paper explores Sophocle’s tragedy Oedipus Rex from the viewpoint of Hegel’s theoretical perspective, as well as practical perspectives based on an influential textbook on playwriting by Lajos Egri. The paper further explores the different understandings of dialectics in philosophical and dramatic dialogue. Also, it addresses the kind of applied dialecticism in the work of Greek artists of the 5th century BC. Finally, the text explores the early Greek literary form gnome, which is – hypothetically speaking – the source of the later Greek understanding of dialectics.

Na temelju analize mita o Kleobisu i Bitonu tekst promišlja grčki termin arete i višestrukost njegovih značenja. Analiza naracije u prvom sloju mita razotkriva identitet arhajskih »etičkih « vrijednosti, da bi drugim čitanjem ukazala i na njihovu promjenu u pravcu stvaranja pojmovnog određenja ‘dobra’. Konačno, tekst uspoređuje zamisao o arhajskom atletskom heroju – kakvu susrećemo u homerskoj i hesiodskoj literaturi, te u mitu o Kleobisu i Bitonu – s njezinom vizualnom inačicom u skulpturalnoj formi kourosa. Kao što se na primjeru mita detektira promjena vrijednosti od aristokratske ‘vrline’ prema općenitosti ideje ‘dobra’, tako se u tkivu skulpture nalazi promjena od simboličkog prema individualiziranom identitetu ljudskog lika.