Was the Classical Tradition Betrayed by J. Ivory's adaptation of E. M. Forster's "Maurice"?

According to Literature and Film studies and from the point of view of the influence of Classical Tradition on Western Culture -Classical Greek Tradition, in this case-, this article is an accurate analysis of the inevitable -to a certain degree- screenwriters betrayals regarding the literary texts that they adapt. However, in spite of being practically inevitable, Dr. Pau Gilabert Barberà indicates which are in his opinion the limits beyond which Ivory/Hesketh-Harvey should have not gone in order not to dilute the Hellenic temper of E. M. Forster's Maurice.

GREC CLÀSSIC : curs d'autoaprenentatge introductori

GREC CLÀSSIC. Curs d’autoaprenentatge introductori. Dos anys. El curs consta de tretze lliçons i d’una gramàtica estructurada en quatre blocs: 1. Alfabet i diacrítics, fenòmens fonètics. 2. Morfologia nominal. 3. Morfologia verbal. 4. Infinitius i participis. Sintaxi de les oracions. L’estructura de les lliçons, excepte la primera que inclou l’alfabet, combina qüestions de morfologia nominal i verbal o de morfologia i sintaxi, tal com acostumen a fer els mètodes d’aprenentatge de les llengües modernes. Cada lliçó formula els seus objectius específics, desenvolupa la seva part de continguts i conclou amb uns exercicis pràctics d’autocorrecció. La Gramàtica, per la seva banda, està organitzada com un manual elemental de llengua grega on la persona que segueixi el curs pot ampliar la seva formació i consultar els dubtes. Parts complementàries: presentació on es formulen els objectius, la metodologia i les instruccions concretes per a seguir el curs; terminologia on s’ordenen alfabèticament els conceptes gramaticals emprats en el curs; avaluació final per tal que, més enllà dels exercicis de cada lliçó, hom pugui comprovar si ha assolit els coneixements previstos o si, en cas de no arribar-hi, ha de reforçar algunes lliçons o parts de les mateixes abans de tornar a fer l’avaluació; lèxic, ordenat alfabèticament per tal que hom pugui conèixer el significat dels mots emprats en el curs sense necessitat de consultar un diccionari. A la part d’avaluació hi ha també una enquesta per tal que les persones que segueixin el curs en facin una valoració i ens permetin corregir els seus dèficits o mancances. El projecte 2007MQD00178 ha continuat ampliant els dossiers electrònics, els exercicis autoavaluatius del seu web www.ub.edu/filologiagrega/electra i ha dedicat una part important de la seva tasca a elaborar els continguts i els programes de les assignatures dels dos primers cursos del nou grau de Filologia Clàssica.

La cultura clàssica a l'educació secundària obligatòria. Proposta de materials didàctics : La Grècia mítica y la Grècia del logos

L'objectiu principal del treball de recerca és el disseny de dos crèdits variables, matèries optatives dins de l'Educació Secundària Obligatòria, entorn de la cultura grega clàssica.

Grámmata Kaì épos : Introducció a la literatura grega I

Aquest treball consisteix en la creació d'un crèdit variable adreçat a alumnat de 3r d'ESO. Hem de tenir en compte que aquest alumnat ja ha estat introduït prèviament a la cultura i civilització clàssica grega dins de l'àrea de ciències socials, per tant el que pretenem és endinsar-nos un poc més en aquesta temàtica, tot aprofundint en alguns aspectes sobre la seva literatura.

"Classicism versus Mediaevalism in Victorian-Edwardian England: E. M. Forter's "A Room with a View" as an example

The aim of this article is to illustrate the well-known opposition classicism / medievalism in the Victorian-Edwardian England by analysing accurately E. M. Forster's A Room with a View from the point of view of the Classical Tradition and, therefore, focusing on both the meaning and significance of all its classical -Greek and Roman- references.

Fraseologia espanyola d'origen llatí i motiu grecorromà

Proyecto realizado en la Universidad de Lleida entre 2003 i 2006. El objetivo principal de este trabajo es vislumbrar la génesis y la evolución de unidades fraseológicas que proceden del latín y de las que utilizan algún motivo grecorromano para su creación. Una de las razones por las que se ha elegido este tipo de fraseologismos es que se remontan a una época bastante bien conocida de la historia de nuestro pueblo, circunstancia que permitirá desarrollar el segundo objetivo, a saber: conocer qué aspectos de la sociedad y la cultura clásicas han sido seleccionados por los antiguos y por los hispanohablantes para la formación de una expresión figurada, así como sacar a la luz las posibles causas que han motivado esta elección. La inclusión de estos dos grupos de unidades –el de las que proceden directamente del latín y el de las que se han basado, ya en plena época romance, en un motivo de la cultura clásica– nos posibilita la consecución de un tercer objetivo: saber si en ambos pueblos (grecorromano e hispano) han llamado la atención los mismos aspectos de la realidad (y de idéntico modo) para la cristalización de unidades fraseológicas. Las hipótesis de partida eran que, en español, debiera darse tanto la perduración o recreación de unidades latinas y griegas, como la creación de nuevas unidades referidas a aspectos culturales de Grecia y Roma; y que el número de estas unidades debiera ser elevado, puesto que el latín es la lengua de la que deriva el español y la cultura grecorromana es la base de la nuestra. Para el establecimiento del corpus definitivo se han elaborado dos corpora de fraseologismos y refranes (sobre el español y el latín), que han sido debidamente comparados hasta llegar establecer unas 20.000 unidades de origen latino y unas 3.000 de origen clásico .

The Core ideas and axioms of classical fascism (1919-1945)

This article presents and explores the axioms and core ideas, or idées-force, of the Fascist ideologies of the first third of the twentieth century. The aim is to identify the features that define the term “Classical Fascism” as a conceptual category in the study of politics and to uncover the core ideas of its political theory. This analysis requires an appraisal of both the idées-force themselves and the political use that is made of them. If these appreciations are correct, Classical Fascism is characterized by a set of ideological and political aims and methods in which ideas, attitudes and behaviours are determined by an anti-democratic palingenetic ultranationalism underpinned by a sacralized ideology; the quest for a united, indissoluble society as apolitical system and, at the same time, the collective myth that mobilizes and redeems the nation; and third, violence as a political vehicle applied unchecked against internal opposition and against external enemies who challenge the nation´s progression towards the dream of rebirth and the culmination of this progression in the form of an empire.

Classical solutions of the leading-logarithm approximation with non-trivial topology

Exact solutions of the classical equations corresponding to the leading-logarithm approximation are obtained. They are classified by an (integer) topological number.

Classical motions from pseudoclassical spin-1/2 particle models

The classical trajectory and spin precessions of Bargmann, Michel, and Telegdi are deduced from a pseudoclassical model of a relativistic spin-(1/2) particle. The corresponding deduction from a non- relativistic model is also given.

Pseudoclassical description for a nonrelativistic spinning particle II. Classical content

The pure classical content of a pseudoclassical nonrelativistic model of a spinning particle is studied. The only physical meaningful world line is the one without "Zitterbewegung." Interactions with external electromagnetic fields are also studied.

Deriving the hard thermal loops of QCD from classical transport theory

Classical transport theory is employed to analyze the hot quark-gluon plasma at the leading order in the coupling constant. A condition on the (covariantly conserved) color current is obtained. From this condition, the generating functional of hard thermal loops with an arbitrary number of soft external bosonic legs can be derived. Our approach, besides being more direct than alternative ones, shows that hard thermal loops are essentially classical.

Philo of Alexandria's De opificio mundi (LIII-LXI): discovering the essential features of Greek and Western Misogyny in a Platonising Jewish Text

The aim of this article is to show the Western centuries-old misogynist tradition from its origins in Greece by analysing a text by the allegorical interpreter of the Bible Philo of Alexandria, his De opifico mundi, which on many occasions is read by him from a Platonic point of view. The accurate analysis of the chapters devoted to the creation of the woman by God proves to what extent it is not possible to understand this text if one does not take into account a Greek philosophical tradition which was already centuries-old.

Woody Allen and the Spirit of the Greek Tragedy: from Crimes and Misdemeanors to Match Point

Many studies have already paid attention to what is called the "serious films" by Woody Allen and, among them, it is also worth mentioning the one written by the very Pau Gilabert Barberà (2006), which is devoted to the Sophistic legacy underlying in his opinion the screenplay of Crimes and Misdemeanors. On this occasion, his aim is to analyse the fluctuating sight of the American director with regard to the Greek tragedy. Indeed, Gilabert is convinced that, only in this way, it is possible to reveal the true Allen¿s sympathy with the tragic spirit of the Greeks, as well as to understand his urge to present that ancient literary genre as a paradigm with the help of which one can evaluate the greatness and misery of our contemporary world.

The Cave by José Saramago: Platonic image versus metaphysics

The cave by José Saramago has as a certain reference the image of the cave of book VII of Plato's Republic and, however, Saramago is not an idealistic or metaphysical writer. This article, taking advantage of the applicability with which Plato endowed his image, defends the urge to be open to the messages sent by the earth, by matter, the urge not to become prisoners in the golden caves of the Western society and, finally, the urge to find our freedom in Nature, phýsis, and not far or beyond, metá, it.

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).

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.