Rutas cinematográficas hacia la imagen platónica de la caverna

El objetivo de este artículo es demostrar la posibilidad de llegar también a la imagen platónica de l caverna desde el cine. En este sentido se puede hablar de referencias explícitas como en el caso de El conformista de B. Bertolucci o Shadowlands de R. Attenborough, si se tienen presentes las Crónicas de Narnia de C. S. Lewis- o The Picture of Dorian Gray -si se tiene presenta la novela de Oscar Wilde-, pero, en otras ocasiones, pese a que la influencia platónica no pueda ser demostrada, por ejemplo en The Truman Show, A Room with a View o Brideshead Revisited, podemos servirnos perfectamente de estas películas para guiar al público contemporáneo hacia aquella imagen platónica, ya que el mismo platón demuestra que se trata de una imagen aplicable y, en primer lugar, a su filosofía idealista.

Rutes cinematogràfiques vers la imatge platònica de la caverna

L'objectiu d'aquest article és demostrar la possibilitat d'arribar també a la imatge platònica de la caverna des del cinema. En aquest sentit es pot parlar de referències explícites, com en el cas de El conformista de B. Bertolucci, o Shadowlands -si es tenen presents les Cròniques de Nàrnia de C. S. Lewis- o The Picture of Dorian Gray -si es té present la novel·la d'Oscar Wilde-, però, en d'altres ocasions, tot i que la influència platònica no pugui ser demostrada, per exemple a The Truman Show, A Room with a View o Brideshead Revisited, podem emprar perfectament aquestes pel·lícules per menar el públic contemporani vers aquella imatge platònica, ja que el mateix Plató demostra que es tracta d¿una imatge aplicable i, en primer lloc, a la seva filosofia idealista.

La caverna de José Saramago: imatge platònica versus metafísica

La caverna de José Saramago té com a referència indubtable la imatge de la caverna del llibre VII de la República de Plató, i, tanmateix, Saramago no és un escriptor idealista o metafísic. Aquest article mostra com, tot aprofitant l¿aplicabilitat amb què Plató dota la seva imatge, Saramago defensa la necessitat de saber rebre els missatges de la terra, de la matèria, de no esdevenir presoners en las cavernes daurades de la societat occidental, i d¿esdevenir lliures en la natura, phýsis, i no pas lluny o més enllà, metá, d¿ella.

La caverna de José Saramago: imagen platónica versus metafísica

La caverna de José Saramago tiene como referencia indudable la imagen de la caverna del libro VII de la República de Platón, y, sin embargo, Saramago no és un escritor idealista o metafísico. Este artículo muestra cómo, aprovechando la aplicabilidad con que Platón dotó a su imagen, Saramago defiende la necesidad de saber recibir los mensajes de la tierra, de la materia, de no convertirnos en prisioneros en las cavernas doradas de la sociedad occidental, y de ser libres en la naturaleza, phýsis, y no lejos o más allá, metá, de ella.

Mourning becomes Electra d'Eugene O'Neill: Èsquil i Plató per a crear un drama fosc?

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.

Mourning becomes Electra de Eugene O'Neill: ¿Esquilo y la caverna de Platón para crear un drama oscuro?

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.

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.

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.

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.

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.

La "imagen" de la caverna y la tentación constante de corregir a Platón: Benjamin Jowett como ejemplo

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".

Tot sortint de la caverna per cercar la vida (Lectura classicitzant de La caverna de Rodolf Sirera)

L'objectiu d'aquest article és mostrar com un dramaturg contemporani pensa de bell nou en la imatge platònica de la caverna per parlar del necessari viatge existencial i de formació de l'home, lluny de la protecció que les cavernes de qualsevol tipus, com ara la llar, el jardí­ familiar o la mateixa famí­lia, poden representar. Tot i que des d'una perspectiva en absolut idealista o metafí­sica, Plató esdevé una vegada més gràcies a R. Sirera i a l'aplicabilitat de les mateixes imatges platòniques una referència clàssica tan útil com ineludible, si es té en compte l'origen platònic de totes les cavernes literàries.

Platonic shadows and lights in Luis Cernuda's poetry: their didactic use

The aim of this article is to show a wide range of lights and shadows in Luis Cernuda's poetry as images which have a specific reference -in spite of not being mentioned-, that is, the Platonic image of the cave. It is thanks to the images that the poet shows us his ideal world, in which shadows symbolize the beautiful, perfect and everlasting world in which Luis Cenuda needs to believe. Once more, it deals with that well-known tension between reality and desire which defines the essence of his poetry.

La caverna de José Saramago: imagen platónica versus metafísica

La caverna de José Saramago tiene como referencia indudable la imagen de la caverna del libro VII de la República de Platón, y, sin embargo, Saramago no és un escritor idealista o metafísico. Este artículo muestra cómo, aprovechando la aplicabilidad con que Platón dotó a su imagen, Saramago defiende la necesidad de saber recibir los mensajes de la tierra, de la materia, de no convertirnos en prisioneros en las cavernas doradas de la sociedad occidental, y de ser libres en la naturaleza, phýsis, y no lejos o más allá, metá, de ella.

A Neanderthal Lower Incisor from Cova del Gegant (Sitges, Barcelona, Spain)

Cova del Gegant is located near the city of Sitges (Barcelona, Spain). The cave is a small karst system which contains Upper Pleistocene archaeological and paleontological material (DauRa et al., 2005). The site was first excavated in 1954 and then in 1972 and 1974- (Viñas, 1972; Viñas & Villalta, 1975) and in 1985 and 1989 (maRtínez et al., 1985; moRa, 1988; maRtínez et al., 1990). Finally, in 2007, Grup de Recerca del Quaternari has restarted the archaeological research at Cova del Gegant (DauRa, 2008; DauRa et al., 2010). A human mandible was recovered during the first field season in 1954 and was recently published by DauRa et al. (2005). In the present study, we describe a new human tooth (left I2) that appeared, like the mandible, in a revision of the faunal material recovered from the site in 1974-1975. The specimen preserves the entire crown and the cervical two thirds of the root (Figure 1). The lack of the root apex makes it difficult to determine if the tooth was fully developed at the time of death. However, CT analysis reveals a pulp cavity that could be still open, suggesting root formation was incomplete. The specimen shows only slight dental wear corresponding to stage 2 of Molnar (1971 en Hillson, 1996). Morphologically, the crown shows slight shovelling and a lingual tubercle and appears similar to Neandertal incisors. Standard crown measurements (buccolingual diameter=7.7 mm; mesiodistal diameter= 7.3 mm) (Figure 2) suggest a fairly large tooth, particularly in the BL dimension, again resembling Neandertals in this regard. Discriminant analysis classified the Gegant incisor as Neandertal with a 99.8% posterior probability (Table 2). Association of this tooth with the previously described mandible is considered unlikely given the different ages at death estimated for each. Thus, there appear to be two individuals preserved in the sediments of the Gegant cave, one adult and one subadult (around 8-10 years old).

Earliest known use of marine resources by neanderthals

Numerous studies along the northern Mediterranean borderland have documented the use of shellfish by Neanderthals but none of these finds are prior to Marine Isotopic Stage 3 (MIS 3). In this paper we present evidence that gathering and consumption of mollusks can now be traced back to the lowest level of the archaeological sequence at Bajondillo Cave (Málaga, Spain), dated during the MIS 6. The paper describes the taxonomical and taphonomical features of the mollusk assemblages from this level Bj19 and briefly touches upon those retrieved in levels Bj18 (MIS 5) and Bj17 (MIS 4), evidencing a continuity of the shellfishing activity that reaches to MIS 3. This evidence is substantiated on 29 datings through radiocarbon, thermoluminescence and U series methods. Obtained dates and paleoenvironmental records from the cave include isotopic, pollen, lithostratigraphic and sedimentological analyses and they are fully coherent with paleoclimate conditions expected for the different stages. We conclude that described use of shellfish resources by Neanderthals (H. neanderthalensis) in Southern Spain started ~150 ka and were almost contemporaneous to Pinnacle Point (South Africa), when shellfishing is first documented in archaic modern humans.

Espeleotoponímia de motivació paleontològica i antracotoponímia de les Illes Balears

En aquest treball es recopilen i estudien, des d’una perspectiva etnopaleontològica, les aportacions i influencies exercides pels fòssils en relació al patrimoni onomàstic toponímic relacionat amb cavitats càrstiques de l’àmbit geogràfic de les Illes Balears. Generalment es tracta de microtopònims moderns o recents, en vies de popularització i/o tradicionalització (neotopònims), establerts pels científics que estudien les coves i/o esportistes del món de l’espeleologia (topocultismes). Es poden distingir entre espeleotopònims de primer ordre (quan es refereixen a cavitats completes) i de segon ordre (quan es refereixen a un sector d’una cavitat). També es realitza una primera aproximació als topònims referits a mines d’extracció de carbó fòssil (antracotopònims).