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.

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.

Classical parameters of Shadowlands by Richard Attenborough (On C. S. Lewis's Life and Work)

The aim of this article is to show the classical parameters of Shadowlands by R. Attenborough, with a screenplay by W. Nicholson, on C. S. Lewis's life and work. Based upon an accurate reading of Lewis's works, the author of this article proposes to interpret the opposition Lewis / Gresham as the translation into the real life of the opposition between the Platonic or idealistic and the Aristotelian or materialistic temperaments which was already maintained by Coleridge. In any case, there are many classical references which must be taken into account in order to understand to what extent C. S. Lewis's Christianity is also a classic Christianity, that is, a Greek and Latin one.

Classical references and their significance in The Magic Mountain by Thomas Mann

Although Thomas Mann’s novel The Magic Mountain has been the object of innumerable studies, this paper suggests that so far none of these has given truly close attention to the significance of the classical references in this novel with regard to the search for a true humanism. This is probably owing to the generally held belief that the influence of the classical tradition is relatively inconsequential in relation to the ample conjunction of philosophical ideas on which the novel is based. This article takes a differing view and, through a close analysis and comment of the explicit and implicit classical notions in the text, concludes that these ideas are also a valuable key to a greater comprehension of the ideological design of the main character, Hans Castorp, and to a certain degree they also help to continue to reflect on the most enigmatic and controversial episode of the novel: the young protagonist’s descent to the plain from the magical mountain (Zauberberg) in order to take part in the great tragedy of World War I, alien as is any war to the prevalent but ultimately futile desire that love (Liebe) should in the end prevail in the life of humans.

Mitologia i literatura a "Suddenly Last Summer" de Tennessee Williams: tot lluitant contra Venus i Èdip

The aim of this article is to analyze accurately the role played by two classical references, Venus and Oedipus, in Tennessee Williams¿s Suddenly Last Summer, in accordance with the usual nature of studies on Classical Tradition ¿Greek and Roman- and focusing in this case on the relationship between literature and mythology. It is thanks to Venus and Oedipus that the playwright succeeds in showing the magnitude of men¿s and women¿s tragedy, which from his point of view is simply that they have failed to see either kindness in the face of God or to feel his loving and fatherly providence.

Muerte en Venecia de Thomas Mann o la via plutarquea hacia Eros

En Muerte en Venecia Thomas Mann se refiere explícitamente al Simposio y al Fedro de Platón para explicar la relación entre Gustav von Aschenbach y Tadzio, pero oculta que su novela se inspira también en el Erótico de Plutarco. ¿Por qué? El objetivo de este artículo es justamente revelar las razones de este proceder. En efecto, Plutarco elogia el amor matrimonial en el Erótico y éste no es el camino que sigue Mann, pero, al mismo tiempo, el escritor alemán halla en el diálogo plutarqueo todo lo necesario para construir su historia de amor masculino y decide no prescindir de él.

Thomas Mann's Death in Venice or Plutarch's way towards Eros

In Death in Venice Thomas Mann refers explicitly to Plato's Symposium and Phaedrus in order to explain the relationship between Gustav von Aschenbach and Tadzio but he hides that his novel also depends on Plutarch's Eroticus. Why? The aim of this article is precisely to reveal the different reasons for such an attitude. Indeed, Plutarch speaks highly of conjugal love in his Eroticus and this way is not followed by Mann in Death in Venice but, at the same, the German writer finds in this Plutarch's philosophical dialogue all the necessary elements to build his story of masculine love and decides not to manage without it.

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.

S. Pau. I Corintis 12: 12-31: El cos humà i l'Església. Paràmetres clàssics d'un símil útil i veritablement significatiu.

L'objectiu d'aquest article és presentar un seguit de textos clàssics d'autors i escoles filosòfiques diferents que poden estar en la base subconscient de la primera carta de Sant Pau als Corintis. L'apòstol es mostra molt hàbil en l'ús de la imatge del cos humà i de la necessària coordinació de tots els seus membres per fer veure a la comunitat cristiana de Corint la urgència d¿aparcar tota dissensió interna en ares de la unitat. Tanmateix, aquesta imatge no és una creació original stricto sensu de l'apòstol, sinó que ja la medicina, la filosofia i la historiografia gregues l'havien emprada amb finalitats diverses.

S. Pablo. I Corintios 12: 12-31: El cuerpo humano y la Iglesia. Parámetros clásicos de un símil útil y verdaderamente significativo

El objetivo de este artículo es presentar un conjunto de textos clásicos de autores i escuelas filosóficas diferentes que pueden estar en la base subconsciente de la primera carta de San Pablo a los Corintios. El apóstol se muestra muy hábil en el uso de la imagen del cuerpo humano y de la necesaria coordinación de todos sus miembros para convencer a la comunidad cristiana de Corinto de la urgencia de aparcar toda disensión interna en aras de la unidad. Sin embargo, esta imagen no es una creación original stricto sensu del apóstol, sino que ya la medicina, la filosofía y la historiografía griegas la habían usado con finalidades diversas.

Miquel Àngel Riera's The Unattainable Gods (Els déus inaccessibles), or why can Platonic Western world not restore Paganism?

The aim of this article is to read accurately the novel by M. A. Riera from the point of view of the Classical Tradition and, specifically, from the perspective of the evident Platonic tradition ¿the most metaphysical Platonic love- upon which it is based. In the author¿s opinion, only this accurate reading makes us understand why certain values coming from Paganism and which were considered as such cannot be restored by the Platonic Western world.

Els Déus inaccessibles de Miquel Àngel Riera, o per què l'Occident Platònic no pot restaurar el Paganisme?

L'objectiu d'aquest article és fer una lectura acurada de la novel·la de M. A. Riera des de la perspectiva de la Tradició Clàssica i, específicament, des de l¿'vident tradició platònica -l'amor platònic més metafísic- en la qual recolza. En opinió de l'autor, només aquesta lectura acurada amb una referència constant als textos de Plató permet entendre per què alguns valors considerats com a tals pel Paganisme no poden ser restaurats per l'Occident Platònic.

Antihelenismo y anticlasicismo en la obra de Oscar Wilde. El polo opuesto de una mente paradójica.

Gracias a una poderosa arma intelectual, la paradoja, Oscar Wilde descubre también los déficits del Clasicismo y del Helenismo. Un análisis riguroso del conjunto de su obra desde la perspectiva de la Tradición Clásica, nos revela también un Oscar Wilde diferente del usual Wilde filohelénico y, sobre todo, platónico. El objetivo de este artículo es abordar un tema muy poco estudiado por los filólogos clásicos cual es el anticlasicismo y el antihelenismo como necesidades intelectuales.

Literature and Mythology in Tennessee Williams's "Suddenly Last Summer": Fighting against Venus and Oedipus

The aim of this article is to analyze accurately the role played by two classical references, Venus and Oedipus, in Tennessee Williams Suddenly Last Summer, in accordance with the usual nature of studies on Classical Tradition a Greek and Roman- and focusing in this case on the relationship between literature and mythology. It is thanks to Venus and Oedipus that the playwright succeeds in showing the magnitude of mens and womens tragedy, which from his point of view is simply that they have failed to see either kindness in the face of God or to feel his loving and fatherly providence.

Antihel·lenisme i anticlassicisme en l'obra d'Oscar Wilde. L'altre pol d'una ment paradoxal.

Gràcies a una poderosa arma intel·lectual, la paradoxa, Oscar Wilde descobreix tambè els dèficits del Classicisme i l'Hel·lenisme. Una anàlisi acurada del conjunt de les seves obres des de la perspectiva de la Tradició Clàssica, ens revela també un Oscar Wilde diferent de l'usual Wilde filohel·lènic i, sobretot, platònic. L'objectiu d'aquest article és abordar un tema molt poc estudiat pels filòlegs clàssics, l'anticlassicisme i l'antihel·lenisme com a necessitats intel·lectuals