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.

Heràclit, 85 Diels-Kranz inconvenients i grandesa de l'ànim abrandat

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.

La ciència del bé i del mal en El jardí simbòlic

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

Cal.limac h. VI, Euforió fr. 8 Powell i les "tauletes de maledicció" de Cnidos

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

Leaving the cave in search of life (A Platonic reading of R. Sirera's La caverna (The Cave)

The aim of this article is to show how a contemporary playwright thinks once more of the Platonic image of the cave in order to reflect on the necessary existential journey of men and women as in the case of a Bildungsroman. Sooner or later men and women must abandon the protection that any sort of cavern such as home, the family garden or family itself can offer. In spite of writing from a by no means idealistic or metaphysical point of view, thanks to R. Sirera and to the very applicability of Platonic images, Plato becomes once again a classical reference which is both useful and even unavoidable if one bears in mind the Platonic origin of all the literary caverns.

La conquista del nuevo mundo

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.

Uso y abuso de los libros en un mundo libresco: algunos ejemplos griegos de la época imperial

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.

El aprendiz de rapsoda, o de cuando Homero cruzó la laguna estigia (Lucianus, Cont. 7)

In Charon or the Inspectors we find the ferryman of the underworld on earth, talking to the god Hermes about wealth, happiness, and the vain human striving for material goods. The piece has been considered to be an example of Menippean satire inside the corpus of Lucian"s works. Homeric poetry is always in the background. Lucian uses Homeric verses, or rather, verses structured in the Homeric manner, to formulate his critical view of the mortal world; in addition, he puts these verses into the mouth of a character who must temporarily give up his job as a ferryman in order to practise the art of rhapsody. This paper analyses a textual problem: the two variants in Cont. 7 referring to Homer in the manuscript tradition. In a context in which Lucian wants to make fun not just of foolish humans but also of the Greek poet par excellence, the reading of the ueteres seems more appropriate because it illustrates better Lucian"s parodic intention in recalling Homer and in trying to adapt form and content to the Greek tradition.