Kaj učimo, ko v sodobni slovenski gimnaziji učimo latinsko? S kakšnimi cilji vstopamo v razrede, kaj pričakujemo, da bodo naši dijaki znali? Navedena vprašanja so le na videz preprosta. V najbolj pragmatičnem smislu nanje odgovarja veljavni učni načrt za latinščino, ki niza cilje pouka in s tem pričakovane zmožnosti dijakov. V tem prispevku skušam slednje osvetliti z zornega kota prakse in sicer z vpogledom v slovensko državno tekmovanje v znanju latinščine, namenjeno di­jakom tretjega letnika gimnazije. Ob tem izhajam iz predpostavke, (...) da je tekmovalne naloge moč vsaj do določene mere imeti za »praktično« dopolnilo učnemu načrtu, za dovolj reprezentativne odgovore na vpra­šanje, kaj si pod začrtanimi cilji predstavljamo povsem pragmatično, in tako tudi za ilustrativen prikaz naših skupnih pričakovanj o tem, katere kompetence naj bi dijaki po skoraj treh letih gimnazijskega učenja imeli. Tekmovalne naloge, deloma pa tudi dileme, ki jih pred ocenjevalce postavlja točkovanje odgovorov, mi obenem služijo kot osnova za razmislek o tem, kje ležijo prednosti in didaktični izzivi sodobnega pouka latinščine. (shrink)

The paper analyses a short scene that forms part of the opening of Sophocles’ Aias : Aias, suffering from the madness that was inflicted upon him by Athena, is displayed by the goddess to Odysseus. In the corpus of extant ancient drama, this inset appears to be unique. Its expressive power is derived from the scene’s specific structure that doubles the integral elements of theatre. The paper suggests the reasons why the scene has often been labeled “a play-within-a-play,” describing and (...) illustrating the elements that can be paralleled with the structural components of theatre. Taking as basis concepts and ideas proposed by modern theatre theoreticians, the paper argues that the essence of the performative dimension of the scene is to be found in the phenomenon of the “ostentation act” first described by Umberto Eco. Tracing the meaning of the inset within the tragedy as a whole, the paper emphasizes the fact that the “ostentation” in Aias is a divine creation, and examines how Odysseus, a privileged recipient of the spectacle, reacts to the display of Aias’ shameful condition. (shrink)