http://www.recercat.cat:80/handle/2072/48809 Mon, 21 May 2012 18:59:19 GMT 2012-05-21T18:59:19Z http://www.recercat.cat:80/bitstream/id/34144/ http://www.recercat.cat:80/handle/2072/48809 http://www.recercat.cat:80/handle/2072/182745 A modo de preámbulo Jufresa, Montserrat http://www.recercat.cat:80/handle/2072/182745 http://www.recercat.cat:80/handle/2072/182744 Teano de Crotona Gutiérrez, Mercedes; Jufresa, Montserrat; Mier, Cristina; Pardo, Félix http://www.recercat.cat:80/handle/2072/182744 http://www.recercat.cat:80/handle/2072/182743 SAFO fragmento 16 V: El Deslumbramiento Clavo Sebastián, Ma Teresa E1 fr. 16 V es un breve poema en el que, argumentando con rigurosa lógica y utilizando como ejemplo demostrativo el mito de Helena, Safo formula la más antigua teorización conocida sobre la naturaleza de la belleza. Su modernidad es sorprendente; la belleza no es una cualidad absoluta, sino el producto fantasmático del impulso sexual. Los pormenores de su fenomenalogía se desglosan con el apoyo de la tradición homérica: el deslumbramiento inicial trastorna los sentidos creando apariencias ilusorias, ciega la ruzón, enajena, provoca olvido; pero cuando el deseo se extingue retornan memoria y conciencia, y con ellas el dolor. Se entiende así que la Helena que ya está de vuelta, la de la Odisea, proceda a administrar su seducción como una droga analgésica. El proccso se repite constantemente; sus sujetos somos todos, cualquiera, y su actualización afecta, más alla de la singular experiencia psica-física a las prácticas matrimoniales de la época, donde no se contemplava la elección de pareja y la mujer abandonaba su entorno para inscribirse en el del marido. Así la poesía de Safo, que forma parte de la iniciación a la vida adulta femenina, al poner al descubierto la relatividad de la belleza dentro del mecanismo amoroso, distancia a sus pupilas de sus propias emociones y las protege de la soledad insertándolas en una experiencia religiosa compartida. http://www.recercat.cat:80/handle/2072/182743 http://www.recercat.cat:80/handle/2072/182360 Tragédie grecque et lutte des classes Pòrtulas, Jaume http://www.recercat.cat:80/handle/2072/182360 http://www.recercat.cat:80/handle/2072/182361 Gil Fernández, Luis. 1996. Aristófanes Gómez i Cardó, Pilar http://www.recercat.cat:80/handle/2072/182361 http://www.recercat.cat:80/handle/2072/182359 La "imagen" de la caverna y la tentación constante de corregir a Platón: Benjamin Jowett como ejemplo Gilabert Barberà, Pau Versió del document publicat a: Estudios Clásicos, Anejo 1, 2010, 105-115; Las traducciones de los primeros capítulos del libro VII de la República de Platón en los que aparece su famosa imagen de la caverna, eikón, presentan una sorprendente e intrigante variedad interpretativa: "alegoría", "mito", "fábula", "parábola", "símil", "comparación"... Este artículo, tomando como ejemplo la notable fidelidad al texto del traductor victoriano de Platón, B. Jowett, y mediante un análisis riguroso de los términos que acompañan la imagen, mantiene la necesidad de no interpretar ni corregir en este caso al gran filósofo idealista o "ideocéntrico", señalando al mismo tiempo, si es otro el proceder, las contradicciones resultantes y el uso de algún término ajeno al léxico platónico como "alegoría". http://www.recercat.cat:80/handle/2072/182359 http://www.recercat.cat:80/handle/2072/182358 La caverna de Josep Palau i Fabre (1952-1969): teatro versus alegoría filosófica para representar e impedir el final trágico y sombrío del luminoso arte de pensar. Gilabert Barberà, Pau Versió del document publicat a: Anuari de Filologia. Antiqua et Medieualia (Anu. Filol. Antiq. Medieualia), 1/2011, pp. 27-42; Podeu consultar la versió en català a: http://hdl.handle.net/2445/22739; What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come. http://www.recercat.cat:80/handle/2072/182358 http://www.recercat.cat:80/handle/2072/182357 La caverna de Josep Palau i Fabre (1952-1969): teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar. Gilabert Barberà, Pau Versió en català del document publicat a: Anuari de Filologia. Antiqua et Medieualia (Anu. Filol. Antiq. Medieualia), 1/2011, pp. 27-42; Podeu consultar la versió en castellà a: http://hdl.handle.net/2445/22710; What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come. http://www.recercat.cat:80/handle/2072/182357 http://www.recercat.cat:80/handle/2072/182356 Verí sense antídot per al Sòcrates històric i la tragèdia barroca al Verí del teatre de Rodolf Sirera. (Una dosi extrema de sadisme per aturar els excessos de la ficció teatral). Gilabert Barberà, Pau Versió en català del document publicat a: Estudios Clásicos, 139, 2011 pp. 111-136; Podeu consultar la versió en anglès a: http://hdl.handle.net/2445/22758; Socrates' serene attitude before his death -although this is questioned-, as described by Xenophon in his Apologia Socratis becomes for the playwright Rodolf Sirera a useful reference in an effort to reflect boldly on the limits of theatrical fiction in another clear example of the Classical Tradition, including that derived from Baroque Tragedy. However, in this case, it is judged severely to make us more conscious of the risk of turning life into a mere theatrical performance and human beings into actors and actresses in a play they did not write. http://www.recercat.cat:80/handle/2072/182356 http://www.recercat.cat:80/handle/2072/182355 Poison without antidote for the historical Socrates and french classical tragedy in El verí del teatre (The Poison of the Theatre) by Rodolf Sirera. (An extreme dose of sadism to put a stop to the excesses of theatrical fiction). Gilabert Barberà, Pau Versió en anglès del document publicat a: Estudios Clásicos, 139, 2011, pp. 111-136; Podeu consultar la versió en català a: http://hdl.handle.net/2445/22722; Socrates' serene attitude before his death -although this is questioned-, as described by Xenophon in his Apologia Socratis becomes for the playwright Rodolf Sirera a useful reference in an effort to reflect boldly on the limits of theatrical fiction in another clear example of the Classical Tradition, including that derived from Baroque Tragedy. However, in this case, it is judged severely to make us more conscious of the risk of turning life into a mere theatrical performance and human beings into actors and actresses in a play they did not write. http://www.recercat.cat:80/handle/2072/182355 http://www.recercat.cat:80/handle/2072/182353 La Dolonia burlesca d'Hipònax Pòrtulas, Jaume http://www.recercat.cat:80/handle/2072/182353 http://www.recercat.cat:80/handle/2072/182354 Dione di Prusa, Il Cacciatore, a cura di E. Avezzú e F. Donadi Mestre, Francesca http://www.recercat.cat:80/handle/2072/182354 http://www.recercat.cat:80/handle/2072/182352 Uso y abuso de los libros en un mundo libresco: algunos ejemplos griegos de la época imperial Mestre, Francesca La élite de pepaideumenoi del Imperio romano, tanto de lengua griega como latina, viven sumergidos en un mundo libresco: el libro, como objeto material y como concepto intelectual, ha pasado a formar parte de su vida más cotidiana. Este trabajo pretende mostrar cómo esta realidad universal adquiere, sin embargo, rasgos bien particulares según los individuos, con lo cual se conforma un panorama sociológico y cultural que, a través del libro, define bien a las mencionadas élites. http://www.recercat.cat:80/handle/2072/182352 http://www.recercat.cat:80/handle/2072/182351 Mourning becomes Electra de Eugene O'Neill: ¿Esquilo y la caverna de Platón para crear un drama oscuro? Gilabert Barberà, Pau Versió en castellà de l'article publicat a: Lexis. Poetica, retorica e comunicazione nella tradizione classica, 29, 2011, pp. 369-402; Podeu consultar la versió en català a: http://hdl.handle.net/2445/22708; The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter. http://www.recercat.cat:80/handle/2072/182351 http://www.recercat.cat:80/handle/2072/182348 Cal.limac h. VI, Euforió fr. 8 Powell i les "tauletes de maledicció" de Cnidos Garriga, Carles, 1954- The scene from Callirnachus' H. VI in which Derneter, under the appearance of her arateira Nicippa, curses Erisichthon rnay be related to the arai of Cnidos. On the other hand, Euphorio fr. 8 Powell can be understood better in the light of the curses of Cnidos, where the culprit's name is not rnentioned ut rhe first stage; a similar interpretation can be applied to Ovid's Ibis 7-10, which was probably inspired on Euphorio http://www.recercat.cat:80/handle/2072/182348 http://www.recercat.cat:80/handle/2072/182347 Pocula plena Miralles, Carles, 1944- http://www.recercat.cat:80/handle/2072/182347 http://www.recercat.cat:80/handle/2072/182350 La conquista del nuevo mundo Fau Ramos, Maria Teresa Greek rnythical tradition presents colonization as a conquest, to civilizated world, of rich lands still occupied by dangerous elements. In order toJight against them, colonial expeditions leaders could receive divine support and also they could follow Heracles ' paradigmatic behaviour. http://www.recercat.cat:80/handle/2072/182350 http://www.recercat.cat:80/handle/2072/182349 Reseña del libro: Le vocabulaire de la colonisation en grec ancien (autor M. Casévitz) Fau Ramos, Maria Teresa http://www.recercat.cat:80/handle/2072/182349 http://www.recercat.cat:80/handle/2072/182346 El papel asignado al viento en los relatos míticos de ámbito colonial Fau Ramos, Maria Teresa http://www.recercat.cat:80/handle/2072/182346 http://www.recercat.cat:80/handle/2072/182343 Cassandra's Dream de Woody Allen. La contemporaneïtat de la tragèdia grega Gilabert Barberà, Pau Cassandra's Dream, de Woody Allen (2007), no tingué les crítiques excel·lents de pel·lícules anteriors com ara Crimes and Misdemeanors i Match Point, on s'abordaven temes semblants. Tanmateix, segons l'opinió de l'autor d'aquest article, analitzada des de la perspectiva del llegat de la tragèdia grega en la cultura occidental, els mèrits d¿aquest film no són pas menyspreables. Les nombroses referències a la tragèdia grega, ja siguin títols o personatges, demostren la voluntat del director americà d'il·lustrar la contemporaneïtat del gènere esmentat, com també de presentar els homes i les dones d¿avui com a víctimes d'una gairebé omnipotent i sorneguera ironia tràgica. L'autor es proposa també de mostrar-hi les relacions evidents d'aquest guió amb el de Match Point i, sobretot, amb el que considera guió matriu de totes tres: Crimes and Misdemeanors. http://www.recercat.cat:80/handle/2072/182343 http://www.recercat.cat:80/handle/2072/182344 Carmina popularia, fr. 35 Page Miralles, Carles, 1944- http://www.recercat.cat:80/handle/2072/182344 http://www.recercat.cat:80/handle/2072/182345 La ciència del bé i del mal en El jardí simbòlic Garriga, Carles, 1954- Chapter 21 of the Byzantine work known as The Symbolic Garden refers to an unidentified plant (the smilax) which symbolizes science. The author has taken this symbol from patristic literature (Athanasius of Alexandria and other patristic texts). On the other hand, a passage (p. 71, 17- 73, 1) unti1 now misinterpreted can be understood if confronted with severa1 texts by John Darnascenus and Nicetas Stethatos, who both voice the same opinions about science http://www.recercat.cat:80/handle/2072/182345 http://www.recercat.cat:80/handle/2072/182341 Heràclit, 85 Diels-Kranz inconvenients i grandesa de l'ànim abrandat Gilabert Barberà, Pau This article intends to be an accurate comrnentary of the Heraclitus185 Diels-Kranz fragment. The author considers, on the other side, that its meaning speah-s perfectly about the Prof: Josep Alsina's temperatment, in honor of whom he thought of writing this work. http://www.recercat.cat:80/handle/2072/182341 http://www.recercat.cat:80/handle/2072/182342 Ninfas de Apolo, ninfas de Dioniso Clavo Sebastián, Ma Teresa http://www.recercat.cat:80/handle/2072/182342 http://www.recercat.cat:80/handle/2072/182340 Mourning becomes Electra d'Eugene O'Neill: Èsquil i Plató per a crear un drama fosc? Gilabert Barberà, Pau Versió en català de l'article publicat a: Lexis. Poetica, retorica e comunicazione nella tradizione classica, 29, 2011, pp. 369-402; Podeu consultar la versió en castellà a: http://hdl.handle.net/2445/22781; The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter. http://www.recercat.cat:80/handle/2072/182340 http://www.recercat.cat:80/handle/2072/179852 1939: Grècia i la literatura catalana Miralles, Carles, 1944- La literatura llatina, la medieval, totes les literatures modernes, ham acudit, alguna, moltes vegades, a la litertura grega. [. . .] http://www.recercat.cat:80/handle/2072/179852 http://www.recercat.cat:80/handle/2072/167359 Cassandra's dream (2007) de Woody Allen: la contemporaneidad de la tragedia griega Gilabert Barberà, Pau Podeu consultar la versió en anglès a: http://hdl.handle.net/2445/18365; Versió catalana de l'article publicat a FAVENTIA vol. 31/1-2, 2009, p. 279-193; Cassandra's Dream, de Woody Allen (2007), no tuvo las críticas excelentes de películas anteriores como Crimes and Misdemeanors y Match Point, donde se abordaban temas parecidos. Sin embargo, en opinión del autor de este artículo, analizada desde la perspectiva del legado de la tragedia griega en la cultura occidental, los méritos de esta película no son en absoluto despreciables. Las numerosas referencias a la tragedia griega, ya sean títulos o personajes, demuestran la voluntad del director americano de ilustrar la contemporaneidad del género mencionado, así como la de presentar a los hombres y mujeres de hoy como víctimas de una casi omnipotente y burlona ironía trágica. El autor se propone también mostrar las relaciones evidentes de este guión con el de Match Point y, sobre todo, con el que considera guión matriz de las tres películas: Crimes and Misdemeanors. http://www.recercat.cat:80/handle/2072/167359 http://www.recercat.cat:80/handle/2072/167358 Woody Allen's Cassandra's dream (2007) as a contemporary greek tragedy Gilabert Barberà, Pau Podeu consultar la versió en castellà a: http://hdl.handle.net/2445/18367; Versió catalana de l'article publicat a FAVENTIA vol. 31/1-2, 2009, p. 279-193; Unlike Crimes and Misdemeanors or Match Point, which approached similar themes, Cassandra's Dream by Woody Allen (2007) had no good reviews. However, according to the author of this article, for those who analyse this screenplay from the perspective of the legacy of Greek tragedy in Western culture, its merits should not be underestimated. The frequent references to Greek tragedy, either titles or characters, prove that the American director wants to present Cassandra's Dream as a contemporary instance of Greek tragedy, and contemporary men and women as victims of an almost almighty and mocking tragic irony. The author's aim is also to show the evident similarities of this screenplay to Match Point and, above all, to Crimes and Misdemeanors, the matrix screenplay for the three films. http://www.recercat.cat:80/handle/2072/167358 http://www.recercat.cat:80/handle/2072/151854 El conformista de Bernardo Bertolucci: Alberto Moravia + Plató contra el feixisme Gilabert Barberà, Pau Podeu consultar la versió en castellà a: http://hdl.handle.net/2445/17984 ; i en anglès a: http://hdl.handle.net/2445/18982; Per què Bernardo Bertolucci, en fer l'adaptació cinematogràfica de la novel·la d'Alberto Moravia Il conformista, introduí a The Conformist la imatge platònica de la caverna? Hom pretén donar resposta a aquesta pregunta mitjançant l'anàlisi de bona part de l'obra de Moravia. http://www.recercat.cat:80/handle/2072/151854 http://www.recercat.cat:80/handle/2072/151853 El conformista de Bernardo Bertolucci: Alberto Moravia + Platón contra el fascismo Gilabert Barberà, Pau Publicat també a: Artes ad Humanitatem I. Barcelona : Ediciones Clásicas, 2010, pp. 319-333, 978-84-614-5791-5; Podeu consultar la versió en català a: http://hdl.handle.net/2445/17985 ; i en anglès a: http://hdl.handle.net/2445/17982; ¿Por qué Bernardo Bertolucci, al adaptar cinematográficamente la novela de Alberto Moravia Il conformista, introdujo en The Conformist la imagen platónica de la caverna? Este artículo preende dar respuesta a esta pregunta mediante el análisis de una parte considerable de la obra de Moravia. http://www.recercat.cat:80/handle/2072/151853