Petrović Jülich, Marina, 1968- Nikolić, Časlav, 1983- Petrović, Vuk, 1988- Nešić Pavković, Milena, 1987- Disertacija je zasnovana na komparativnoj analizi diskursa drama o Ifigeniji(Euripidove drame Ifigenija u Aulidi i Ifigenija na Tauridi, Geteova Ifigenija uTavridi i Okamenjeno more Velimira Lukića). U Euripidovim tragedijama očigledan jepomak u odnosu na Eshilovsku i Sofoklovsku tradiciju, što se prevashodno odnosi napitanja konstituisanja identiteta i čovekove egzistencije. Euripid ne menja mitskipredložak u značajnoj meri, ali ga prilagođava ili bira verziju koja je najpogodnijaprirodi njegove tragedije, ističući mane pojedinca ili društva u sprezi sabožanstvima i religijom. Prvi postavlja hipoteze o razumu i čovečnosti kroz postupkesvojih lica izražavajući njihove misli i emocije kroz intrasubjekatske agone. Rasponkaraktera Ifigenije kod Euripida prevazilazi Eshilovu predstavu mučnog podnošenjažrtvovanja i potpune objektivizacije, a svojim postupkom prihvatanja sudbine koju su jojbogovi dodelili postaje subjekt sopstvenog stradanja i izrasta u ideal. EuripidovaIfigenija na Tauridi u teorijskom smislu predstavlja primenu svih scenskih sredstavai snagu karaktera u glavnom licu, što su karakteristike stvaralaštva ovog tragičara.Uspostavljaju se opozicije ljudskog i božanskog principa, kolektivnog stava i ličnogubeđenja i delanja čoveka i volje bogova. Geteova Ifigenija u Tavridi nastaje naEuripidovoj obradi mita, ali pokreće sasvim nova pitanja identiteta, humaniteta iopoziciju domovine kao bliskog i poznatog i stranih entiteta. Drama koja predstavljamajstorstvo u versifikacijskom i stilskom smislu na poseban način aktualizuje poznateteme, preispitujući tradicionalna načela. Lice Geteove Ifigenije je u potpunostidiferencirano od antičke prethodnice, ona je lice mere i poretka, čistog duha iljudskosti. Velimir Lukić piše pseudomit obrađujući dramu savremenog čoveka u licuIfigenije. Njegova Ifigenija je moderna žena kojoj je dat izbor i ona odlučuje o svojojsudbini, ona snagom svog karaktera i istrajnošću moralno-etičkih načela bira da budeobjekt zadovoljenja težnje drugih.Drame o Ifigeniji su određene različitim problematikama žrtvovanja iprihvatanja stradanja zarad bogova i njihove volje i čoveka i njegovog uspeha (Euripid),6zarad drugog i čitavog roda (J. V. Gete) ili zarad sebe i sopstvenog spasenja (VelimirLukić). Svako sporedno lice (u kontekstu Ifigenije kao glavnog lica) u dramama oIfigeniji se percipira samostalno i u saodnosu sa Ifigenijom. Uočeno je da u saodnosusa Ifigenijom dolazi do preobražaja ostalih lica, tj. da ona posreduje da bi dopreobražaja došlo (preobražaj može biti i progresivan i regresivan tako da izrasta uplemeniti karakter ili da se razotkriva njegova suštinska tamna strana ličnosti). Licamajke, oca, heroja Ahila, glasnika, kolektivnih lica biće izučavana komparativnomanalizom diskursa drama u kontekstu mita i sa namerom da se njihov humanitet preispitai suoči sa Ifigenijinim. This dissertation provides a comparative discourse analysis of plays about Iphigenia(Euripides’ plays Iphigenia in Aulis and Iphigenia Among the Taurians, Goethe’s Iphigenia inTauris, and Petrified Sea by Velimir Lukić). In Euripides’ tragedies, there is a noticeabledeparture from the traditions established by Aeschylus and Sophocles, primarily concerningissues of identity formation and human existence. Euripides does not significantly alter themythological framework; however, he adapts it or chooses the version most suitable for thenature of his tragedy, highlighting the flaws of the individual or society in contrast to the godsand religion. He is the first to put forward the hypotheses about reason and humanity through theactions of his characters, expressing their thoughts and emotions through intrasubjective agons.The range of Iphigenia’s character in Euripides’ plays departs from Aeschylus’ portrayal ofpainful sacrifice and complete objectification. By accepting the fate assigned to her by the gods,she becomes the subject of her own suffering as well as an idealized figure. From a theoreticalperspective, Euripides’ Iphigenia Among the Taurians blends all theatrical devices with thestrength of character of the protagonist, which is typical of Euripides’ work. It also establishesthe following oppositions: (1) human versus divine principle; (2) collective attitude versuspersonal conviction; and (3) the will of the gods versus human agency. Goethe’s Iphigenia inTauris is based on Euripides’ version of the myth, but it raises questions that are entirely newand revolve around identity, humanity, and the opposition between homeland (familiar andintimate) and foreign entities. This play, which is a masterpiece in terms of versification andstyle, engages with familiar themes in a unique and modern way, reexamining traditionalprinciples. Goethe’s Iphigenia is distinctly different from her Attic predecessor, as she is theembodiment of balance and order as well as purity and humanity. Velimir Lukić creates apseudo-myth in a contemporary drama about Iphigenia. His Iphigenia is a modern woman who isgranted the opportunity to choose and who is in control of her own destiny. Through the strengthof her character and steadfast adherence to her moral and ethical principles, she chooses to be theobject through which the desires of others are fulfilled.8The plays about Iphigenia are defined by their different treatment of sacrifice and theacceptance of suffering: for the gods and their will or for humans and their success (Euripides),for others and all of humanity (J. W. Goethe) or for oneself and one’s own salvation (Lukić).Every secondary character in the plays about Iphigenia, seen as such in relation to her as thecentral character, is portrayed both independently and in connection with Iphigenia. It has beenobserved that other characters undergo a transformation through their interactions with Iphigenia.She mediates these transformations, which can be progressive or regressive, revealing a noblecharacter or the inherent dark side of one’s personality. The characters of the mother, the father,the hero Achilles, the messenger, and collective entities are examined through the lens ofcomparative discourse analysis, within the context of the myth, and with the aim of evaluatingtheir humanity and comparing it with that of Iphigenia. - 274 lista 1817583 bytes https://phaidrakg.kg.ac.rs/o:1908 cobiss:190020361 thesis:8928 Todorović Vasić, Jelena, 1991- info:eu-repo/semantics/baccalaureateDissertation Humanitet u dramama o Ifigeniji (Euripid, J. V. Gete. Velimir Lukić) http://creativecommons.org/licenses/by-nc-nd/3.0/at/legalcode srp 2025