"Lavinia" de Úrsula K. Le Guin, una novela virgiliana

Análisis de las dependencias y novedades que, respecto al argumento de la Eneida de Virgilio, ofrece la reciente novela Lavinia (2009), de la escritora norteamericana Úrsula K. Le Guin.

Clear hero and dark hero in the cinematographic narration

The role of the hero is changing, slightly irregular, but it’s purpose is constant. The line that separates good from evil is frequently so thin that sometimes the main hero can act in a negative way, casting doubts about his own nature in the pursuit of good. This paper aims to inquire into the character’s heroic condition showing two variations of this archetype in the context of postmodern cinema: the “clear hero”, and the “dark hero”. The former keeps the most traditional values of the hero, while the latter provides a dimension which distinguishes it from the previous one: his experience executing evil as a part of his process to heroici­ty. Postmodernity implies an ambivalence in the character’s identity which can be comparable to the hero’s role, and to his way of making good. The “clear hero” does not imply negative features in the active nature of the hero, whilst the “dark hero” does include them. Through the protagonists of Gladiator (Scott, 2000) and Batman Begins (Nolan, 2005) are offered both heroic perspectives based on a selection of their principal ac­tions which have been subjected to analysis according to some parameters: behavior, implication, and cause. The decisive action will also be signalized, according to the narration’s teleonomy in reason of the favorable or unfavorable sense for the hero. Finally, each character will be observed from its archetype. By analyzing their actions from these perspectives, we observe the clear hero and the dark hero as affordable categories for the heroic role.

Las edades de Hitler. De Satán a un ser de carne y hueso, y su representación en clave paródica

Adolf Hitler suscitó desde su entrada en la escena política alemana una fascinación perversa, un sentimiento que, con el tiempo, ha dado lugar a numerosas representaciones culturales sobre el Führer. La muestra, rica y variada tanto en el fondo como en la forma, nos permitirá trazar tres estadios en lo referente al proceso de construcción historiográfica del hitlerismo, iniciado con la caída del Tercer Reich. Estos responden en buena medida al devenir sociopolítico y cultural de la sociedad a escala global desde el final de la guerra y hasta nuestros días y pueden resumirse en tres: primero, la satanización; segundo, la humanización; tercero, el retrato caricaturesco. Proponemos un recorrido histórico por diversos productos culturales del dictador alemán cuyo propósito es desentrañar el retrato psicológico poliédrico que se ha construido en torno a la figura de Hitler.