L'evolució iconogràfica del mite de Dànae : De Gossaert a Subirachs

El fascinant mite de Dànae ha inspirat artistes de múltiples disciplines; poetes, escriptors, escultors, gravadors i pintors han quedat subjugats per aquesta història i per la seva ductilitat. En aquest document concentrarem la nostra anàlisi en l'estudi d'un conjunt representatiu i divers de pintures sobre l'escena de la pluja d'or del mite de Dànae.

“Agli orli della vita”: I Giganti della montagna

Luigi Pirandello (1867-1936) affida alle pagine del suo ultimo dramma, I Giganti della montagna, l’estrema riflessione sul rapporto tra l’esperienza artistica e la vita, attraverso il mito, inteso come possibilità di ricreazione e rinnovamento. Il rapporto tra persona e personaggio costituirà il punto di partenza per l’analisi dello spazio drammatico, luogo emblematico del dialogo tra l’arte e la vita, incarnato nella personalità dei protagonisti: il mago Crotone e la contessa Ilse. Il riconoscimento finale della capacità salvifica e creativa dell’arte rivelerà il confine friabile che separa—ed unisce al contempo—la vita e il palcoscenico.

After Satan: Essays in Honour of Neil Forsyth

This volume is the result of a collective desire to pay homage to Neil Forsyth, whose work has significantly contributed to scholarship on Satan. This volume is "after" Satan in more ways than one, tracing the afterlife of both the satanic figure in literature and of Neil Forsyth's contribution to the field, particularly in his major books The Old Enemy: Satan and the Combat Myth (Princeton University Press, 1987, revised 1990) and The Satanic Epic (Princeton University Press, 2003). The essays in this volume draw on Forsyth's work as a focus for their analyses of literary encounters with evil or with the Devil himself, reflecting the richness and variety of contemporary approaches to the age-old question of how to represent evil. All the contributors acknowledge Neil Forsyth's influence in the study of both the Satan-figure and Milton's Paradise Lost. But beyond simply paying homage to Neil Forsyth, the articles collected here trace the lineage of the Satan figure through literary history, showing how evil can function as a necessary other against which a community may define itself. They chart the demonised other through biblical history and medieval chronicle, Shakespeare and Milton, to nineteenth-century fiction and the contemporary novel. Many of the contributors find that literary evil is mediated through the lens of the Satan of Paradise Lost, and their articles address the notion, raised by Neil Forsyth in The Satanic Epic, that the literary Devil-figures under consideration are particularly interested in linguistic ambivalence and the twisted texture of literary works themselves. The multiple responses to evil and the continuous reinvention of the devil figure through the centuries all reaffirm the textual presence of the Devil, his changing forms necessarily inscribed in the shifting history of western literary culture. These essays are a tribute to the work of Neil Forsyth, whose scholarship has illuminated and guided the study of the Devil in English and other literatures.

But Marriage itself is no Party : Angela Carter's Translation of Charles Perrault's La Belle au bois dormant.

AbstractThis article demonstrates the importance of Angela Carter's translations of Charles Perrault's contes into English and argues for their profound influence on her subsequent literary career. Against feminist critics who rejected fairy tales as conservative and informed by patriarchal structures and values, Carter reclaimed Perrault for feminism by recovering the critical edge and emancipating potential of his Histoires ou contes du temps passé, Avec des Moralités. This essay shows, through a comparative reading of "La Belle au bois dormant" and "The Sleeping Beauty in the Wood," that Carter opposed the worldly "politics of experience" that she found in Perrault to the Disneyfied imagery of the Sleeping Beauty myth and modernized the critique of early marriages already contained in Perrault's Moralités. The subversive power of Carter's work, therefore, is not directed against Perrault but rather toward cultural and commercial appropriations of the fairy tale, which promote a naïve view of marriage.Recommended CitationHennard Dutheil de la Rochère, Martine. ""But marriage itself is no party": Angela Carter's Translation of Charles Perrault's "La Belle au bois dormant"; or, Pitting the Politics of Experience against the Sleeping Beauty Myth." Marvels & Tales 24.1 (2010).

The "image" of the cave and the constant temptation to correct Plato: Benjamin Jowettt as an example

Translations of the first chapters of Book VII of Plato's Republic, in which he introduces the well-known image of the cave, eikón, reveals an astonishing and intriguing variety of interpretations of this image: "allegory", "myth", "fable", "parable", "simile" and "comparison", to cite but a few. Taking as an example the work by Benjamin Jowett, the Victorian translator of Plato, remarkable for its textual accuracy and by means of a close analysis of the terms related to the image, this paper insists on the need to neither interpret nor correct the great ideal philosopher, in this case revealing some evident contradictions that arise when this advice is not followed and pointing out the occasional use of terms extraneous to the Platonic lexicon such as "allegory".

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.

Hedwig and The Angry Inch: el Plató més alternatiu

L'objectiu d'aquest article és mostrar com un mite antic, el mite dels tres gèneres, també anomenat de l'androgin de l'Aristòfanes del Simposi de Plató, esdevé per a John Cameron Mitchell la imatge adient per a explicar l'especial personalitat d'un home, Hedwig, que esdevé mitjançant una operació un androgin imperfecte, però que simbolitza la possibilitat d'una humanitat unida o l'acostament de móns diferents, de la mateixa manera que ell va pertànyer a les dues Berlín dividides per un mur que ara ja ha caigut, quedant restablerta així la unitat perduda.

Hedwig and The Angry Inch: el Platón más alternativo

El objetivo de este artículo es mostrar cómo un mito antiguo, el mito de los tres géneros, también llamado del andrógino del Aristófanes del Simposio de Platón, deviene para John Cameron Mitchell la imagen idónea para explicar la personalidad especial de un hombre, Hedwig, que se convierte mediante una operación en un andrógino imperfecto, pero que simboliza la posibilidad de una humanidad unida o el acercamiento de mundos diferentes, al igual que él perteneció a las dos Berlín divididas por un muro que ahora ya ha caído, restableciéndose así la unidad perdida.

Hedwig and The Angry Inch: Plato at the Sundance Film Festival

The aim of this article is to show how an ancient myth, that of the three genres, also known as the myth of the androgynous by Aristophanes in Plato¿s Symposium, becomes for John Cameron Mitchell the suitable image in order to explain the peculiar personality of a man, Hedwig, who by means of a surgical operation becomes in his turn an imperfect androgynous but symbolises the need of a sole mankind or the unity of different worlds, just as he belonged to both Berlins divided by an already fallen wall, which permitted their inhabitants to recover their lost unity and identity.

Political Emotions: Civil Religion and Melodrama in Spielberg's Lincoln

This essay focuses on how Spielberg's film engages with and contributes to the myth of Lincoln as a super-natural figure, a saint more than a hero or great statesman, while anchoring his moral authority in the sentimental rhetoric of the domestic sphere. It is this use of the melodramatic mode, linking the familial space with the national through the trope of the victim-hero, which is the essay's main concern. With Tony Kushner, author of Angels in America, as scriptwriter, it is perhaps not surprising that melodrama is the operative mode in the film. One of the issues that emerge from this analysis is how the film updates melodrama for a contemporary audience in order to minimize what could be perceived as manipulative sentimental devices, observing for most of the film an aesthetic of relative sobriety and realism. In the last hour, and especially the final minutes of the film, melodramatic conventions are deployed in full force and infused with hagiographic iconography to produce a series of emotionally charged moments that create a perfect union of American Civil Religion and classical melodrama. The cornerstone of both cultural paradigms, as deployed in this film, is death: Lincoln's at the hands of an assassin, and the Civil War soldiers', poignantly depicted at key moments of the film. Finally, the essay shows how film melodrama as a genre weaves together the private and the public, the domestic with the national, the familial with the military, and links pathos to politics in a carefully choreographed narrative of sentimentalized mythopoesis.

Mito versus retórica sofística. La dimensión mágica de la palabra en Platón

Como la música, la palabra posee -según Platón- una dimensión mágica que la hace capaz de fascinar (kelein) y encantar(epaidein) al alma que la escucha. La eficacia de la retórica sofística reside ahí, pero dicha retórica vincula al alma con el nivel deser inferior de las sombras y de las imágenes. Existe, sin embargo, otro uso mágico de la palabra y otro empleo -positivo- dela retórica: en los diálogos de transición y madurez Platón presenta en los mitos escatológicos un uso de la palabra en el queésta actúa como imagen (eikon) de un nivel superior del ser, imagen que con su belleza seduce al alma, obtiene su asentimiento(pistis) y la moviliza en la dirección de lo ontológicamente superior, supliendo así la falta de una "razón demostrativa" y colmandocon la belleza de sus imágenes el "peligro" que la adhesión comporta.

Babel y la Biblioteca, máscaras del mito en la lingüística

Los manuales de historia de la lingüística tratan del mito bíblico de Babel y del nacimiento de la gramática en Alejandría de manos de Dionisio de Tracia. Estos pasajes de la historia, que corresponden a épocas diferentes, remiten a dos problemas fundamentales de la lingüística: por una parte, el origen del lenguaje y la diversidad lingüística; por la otra, la invención de la gramática como instrumento para la edición de textos y para el conocimiento formal de la lengua. Pese a las diferencias, Babel y la biblioteca de Alejandría tienen en común una naturaleza mítica. Sus relatos contienen elementos de la ficción y de la realidad que suelen pasar desapercibidos. El artículo señala estos elementos y establece ciertas afinidades entre Babel y la biblioteca, de suerte que articulados componen un ciclo narrativo. // Abstract.- Babel and the Library, the myth masks in Linguistics. History textbooks of linguistics explain the biblical myth of Babel and the birth of grammar in Alexandria at the hands of Dionysius Thrax. These passages of history, which correspond to different times, refer to two fundamental problems of linguistics: first, the origin of language and linguistic diversity and on the other, the invention of grammar as a tool for text editing and formal knowledge of the language. Despite the differences, Babel and the library of Alexandria share a mythical nature. These stories contain elements of fiction and reality that often go unnoticed. The article points out these elements and establishes affinities between Babel and the library, so that it should be considered as a narrative cycle. Keywords: Babel, Library of Alexandria, myth, story, grammar, institution, Dionysius Thrax.

Doktriini versus ihminen: ideologia doktriinina ja myyttinä

Abstract: Doctrine over person: ideology as a doctrine and as a myth