Metáforas del amor en la poesía de la Grecia antigua (I): la épica y la lírica arcaicas

Partiendo del concepto de metáfora cognitiva, que complementa al más conocido de metáfora literaria, y analizando la base conceptual que a ambas subyace, pretendemos un cuidadoso análisis de los textos de poesía épica y lírica arcaicas, sin olvidar la importancia fundamental del contexto cultural en que estos surgen, para obtener una mejor comprensión de la forma en que los griegos conceptualizaban el sentimiento amoroso.

The pomegranate cycle : reconfiguring opera through performance, technology & composition

The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. Consequently, the canon’s historic representations of gender remain unchallenged. Historically and contemporarily, men have almost exclusively occupied the roles of composer, conductor, director and critic, and therefore men have regulated the pedagogy, performance practices, repertoire and organisations that sustain classical music. In this landscape, women are singers, and few have the means to challenge the constructions of gender they are asked to reproduce. The Pomegranate Cycle uses recording technologies as the means of driving change because these technologies have already challenged the regulation of the classical tradition by changing people’s modes of accessing, creating and interacting with music. Building on the work of artists including Phillips and van Veen, Robert Ashley and Diamanda Galas, The Pomegranate Cycle seeks to broaden the definition of what opera can be. This work examines the ways in which the operatic tradition can be hybridised with contemporary musical forms such as ambient electronica, glitch, spoken word and concrete sounds as a way of bringing the form into dialogue with contemporary music cultures. The ultilisation of other sound cultures within the context of opera enables women’s voices and stories to be presented in new ways, while also providing a point of friction with opera’s traditional storytelling devices. The Pomegranate Cycle simulates aesthetics associated with Western art music genres by drawing on contemporary recording techniques, virtual instruments and sound-processing plug-ins. Through such simulations, the work disrupts the way virtuosic human craft has been used to generate authenticity and regulate access to the institutions that protect and produce Western art music. The DIY approach to production, recording, composition and performance of The Pomegranate Cycle demonstrates that an opera can be realised by a single person. Access to the broader institutions which regulate the tradition are not necessary. In short, The Pomegranate Cycle establishes that a singer can be more than a voice and a performing body. She can be her own multimedia storyteller. Her audience can be anywhere.

El pensamiento filosófico-jurídico de Juan Alfredo Casaubón

Resumen: En el presente trabajo se estudia y analiza el pensamiento iusfilosófico de Juan Alfredo Casaubón, unos de los autores iusnaturalistas más significativo de la Argentina en el siglo XX. Heredero de la tradición clásica que conocerá en los famosos Cursos de Cultura Católica y, posteriormente, en la Pontificia Universidad Católica Santa María de los Buenos Aires, de la cual será uno de sus profesores fundadores. Abogado, docente, juez, investigador, padre y esposo. Su pensamiento, si bien se puede encuadrar en la Tradición Central de Occidente, tendrá diversas particularidades que le darán a su pensamiento una nueva impronta a la filosofía jurídica. Se ha tratado de sintetizar el pensamiento casaubiano en diez tesis principales que reflejan en su estricta medida todo el corpus de este filósofo argentino. Previo al desarrollo iusfilosófico del autor, se ha tratado de encuadrar su posición filosófica general y, luego, jurídica, a través de su concepción iusnaturalista. Por último, se hará un pequeño homenaje a este gran pensador en el marco de la filosofía argentina del siglo XX.

O conceito de realeza de Temístio e Amiano Marcelino : o caso do imperador Valentiniano I

Abstract: In the context of Late Antiquity, we observe the ideals of Royalty of two authors who shared the political events between the governments of Constantius II to Theodosius (337-395 AD), namely: the philosopher Themistius (317-388 AD) with his political speeches; and the military Ammianus Marcellinus (325 / 330-395 AD) with his work Res Gestae. During our study, we will seek to observe the characteristics of each author, and converge their life experiences to meet the convergent and divergent points of its concepts around the Imperial responsibilities. In the meantime, we emphasize the interactions between Romans and barbarians, very noticeable at that time; and how this process of interaction of cultures has influenced the thinking of the late-ancient writers studied here. Observing how a philosopher and a military developed such ideals in relation to the ruler: Valentinian I (364-375 AD), for that we made a more specific analysis of VI Speech of Themistius - the Brotherly Love or About humanity - and the XVI - XXX Books of Ammianus Marcellinus. Thus, in a time of great cultural socio-political effervescence, two non-Christian writers have written their work, in order to re-member your audience the importance of the virtues and both based on examples from the classical tradition.

Nota sobre el cine “de romanos” en el siglo XXI

[ES] A la vista del sorprendente éxito de Gladiator (Ridley Scott, 2000) y del aparente revival del cine “de romanos” en el siglo XXI, puede tener su interés una reflexión sobre este fenómeno cultural y social. Ese es el objetivo de este texto, que analiza las diferentes películas rodadas en la última década y los debates surgidos en torno a la relación entre historia y ficción. En el texto se tratan igualmente los cambios sociológicos y culturales sufridos por las sociedades occidentales, muy diferentes de las de la edad dorada del peplum en el siglo XX, por ejemplo en torno al papel de la mujer o la opinión sobre la guerra, y que afectan a los esquemas tradicionales de este peculiar género cinematrográfico.

Apuntes sobre clasicismo y modernidad

Mª José García Soler ( editora).Anejos de VELEIA. Serie Minor nº 17

Larramendiren gramatika eta gramatikagintzaren historia

Reed. in J. A. Lakarra (ed.) 1992, Manuel de Larramendi. Hirugarren mendeurrena (1690-1990), Andoain: Andoaingo Udala [etc], 193-205 & in R. Gómez & J. A. Lakarra (arg.) 1992, Euskalaritzaren historiaz, I: XVI-XIX. mendeak, Donostia-San Sebastián: Gipuzkoako Foru Aldundia & UPV/EHU, 261-274.

Da sujeição a coragem da verdade: um percurso no pensamento de Michel Foucault

Nossa tese tem por objeto o percurso Da Sujeição à Coragem da Verdade na obra de Michel Foucault, filósofo que, efetuando uma mudança radical do pensamento adotado pela tradição clássica, afasta-se da concepção cartesiana de sujeito como substância - res cogitans-, suporte a partir do qual todo conhecimento é possível e o insere como um sujeito objetivado e subjetivado, um efeito da relação poder-saber, que se efetiva nas práticas sociais, a partir de sua aproximação com os pensamentos de Nietzsche e Canguilhem. Temos como objetivo investigar de que maneira Foucault, a partir deste sujeito, objetivado e subjetivado, encontra a possibilidade de constituição de um sujeito ético, que resistindo à objetivação e à subjetivação dadas, elabora uma estética da existência. Nossa hipótese de trabalho é que Foucault, ao convergir suas pesquisas ao período helenístico-romano, identifica a possibilidade de um governo de si, que permite a elaboração de uma estética da existência, afirmada pela Coragem da Verdade, que tem no cinismo sua maior expressão. Utilizamos como metodologia, a leitura, interpretação e análise crítica de textos de Foucault, bem como de textos de seus comentadores. Como resultado de nossa pesquisa foi possível verificar que Foucault encontra a passagem de um sujeito assujeitado para um sujeito capaz de se subjetivar, através do exercício de um governo de si, de um cuidado de si, calcado na Parrhesía, na Coragem da Verdade. Através do exemplo cínico, pode ser colocada em prática, por um ato de escolha, uma filosofia militante, que faça da vida filosófica e da vida verdadeira uma vida outra: uma estética da existência.

El misántropo en Menandro y Molière (II): la desarticulación del tipo y de su potencial cómico

[ES] Este artículo es una revisión del significado de los dos personajes (Cnemón y Alceste) que encarnan, en la producción de Menandro y Molière respectivamente, al tipo del misántropo. Está basada en el análisis (a partir de la definición bergsoniana de lo cómico y de sus mecanismos) del modo diverso en que ambos poetas utilizan las técnicas tradicionales para confi gurar tipos cómicos; y en una comparación de los resultados tan dispares obtenidos por uno y otro dramaturgo (no sólo en lo que concierne a la acogida que en su momento tuvieron las dos obras, sino también en lo que respecta a su recepción por un lector potencial actual), así como de su decisiva influencia en las posteriores reelaboraciones de la figura del misántropo.

A tirania da Vênus: uma discussão sobre a imagem da deusa e seus reflexos na arte

Este artigo apresenta os resultados de minha pesquisa de mestrado, que investigou a sobrevivência do mito clássico de Vênus e suas implicações para a representação da imagem da mulher em obras de arte que lhe fazem referência. Este trabalho tentará demonstrar como tal mito, tendo sido configurado - para o bem ou para o mal - como um paradigma de beleza, em grande parte influencia o ideal de "feminino" que foi espalhado ao longo do tempo, discutindo, assim, de que modo esse paradigma aparece e interfere na arte

Antyk w prozie J. R. R. Tolkiena

Tolkien’s oeuvre and its problematic relationships with classical tradition serve in my paper as an illustration of the diverse approaches, methods, and styles of lecture concerning the nature of literary allusivity. As a point of departure in the paper has been taken the reflection on the common phrase about “antiquity in something” deployed broadly in the reception studies. T he questions raised here are as follows: what does precisely “in” mean in that metaphor? O r, to put it in more general terms, when an allusion to another text can be treated as an inherent part of interpretation? Answer to these questions was possible due to U mberto E co’s statements in the well-known dispute relating to the interpretation and overinterpretation; in conclusion I was trying to show that his criterion of textual economy in interpretation justifies somehow (as I believe) the new look on the essential T olkien’s symbol, i.e. the ring of power, as a symbol of the R oman imperial rule. This means (in the context of the translatio imperii and cultural change from pagan to Christian empire) that The Lord of the Rings can be seen in a way as a novelistic version of Augustine’s The City of God.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

The Reception of Byzantium in European Culture since 1500

Studies on the reception of the classical tradition are an indispensable part of classical studies. Understanding the importance of ancient civilization means also studying how it was used subsequently. This kind of approach is still relatively rare in the field of Byzantine Studies. This volume, which is the result of the range of interests in (mostly) non-English-speaking research communities, takes an important step to filling this gap by investigating the place and dimensions of ‘Byzantium after Byzantium’.
This collection of essays uses the idea of ‘reception-theory’ and expands it to show how European societies after Byzantium have responded to both the reality, and the idea of Byzantine Civilisation. The authors discuss various forms of Byzantine influence in the post-Byzantine world from architecture to literature to music to the place of Byzantium in modern political debates (e.g. in Russia). The intentional focus of the present volume is on those aspects of Byzantine reception less well-known to English-reading audiences, which accounts for the inclusion of Bulgarian, Czech, Polish and Russian perspectives. As a result this book shows that although so-called 'Byzantinism' is a pan-European phenomenon, it is made manifest in local/national versions.
The volume brings together specialists from various countries, mainly Byzantinists, whose works focus not only on Byzantine Studies (that is history, literature and culture of the Byzantine Empire), but also on the influence of Byzantine culture on the world after the Fall of Constantinople.

Percursos do mito de Helena: da literatura grega ao drama de Hélia Correia, O rancor

O mito de Helena de Tróia, alicerçado em referências dispersas em vários testemunhos clássicos, continuou a exercer um poderoso fascínio criativo ao longo dos tempos. Em O Rancor, Hélia Correia retextualiza o mito da rainha de Esparta, baseando-se nas múltiplas imagens que dela a tradição clássica veiculou, mas apresentando-a a uma luz profundamente humana. Neste trabalho, partindo dos elementos constantes do retrato de Helena de Tróia nos diferentes autores clássicos, analisa-se o modo como o percurso da personagem é revisitado no drama de Hélia Correia.