992 resultados para Sirera, Rodolf, 1948- . Caverna
Resumo:
El objetivo de este artculo es demostrar la posibilidad de llegar tambin a la imagen platnica de l caverna desde el cine. En este sentido se puede hablar de referencias explcitas como en el caso de El conformista de B. Bertolucci o Shadowlands de R. Attenborough, si se tienen presentes las Crnicas de Narnia de C. S. Lewis- o The Picture of Dorian Gray -si se tiene presenta la novela de Oscar Wilde-, pero, en otras ocasiones, pese a que la influencia platnica no pueda ser demostrada, por ejemplo en The Truman Show, A Room with a View o Brideshead Revisited, podemos servirnos perfectamente de estas pelculas para guiar al pblico contemporneo hacia aquella imagen platnica, ya que el mismo platn demuestra que se trata de una imagen aplicable y, en primer lugar, a su filosofa idealista.
Resumo:
L'objectiu d'aquest article s demostrar la possibilitat d'arribar tamb a la imatge platnica de la caverna des del cinema. En aquest sentit es pot parlar de referncies explcites, com en el cas de El conformista de B. Bertolucci, o Shadowlands -si es tenen presents les Crniques de Nrnia de C. S. Lewis- o The Picture of Dorian Gray -si es t present la novella d'Oscar Wilde-, per, en d'altres ocasions, tot i que la influncia platnica no pugui ser demostrada, per exemple a The Truman Show, A Room with a View o Brideshead Revisited, podem emprar perfectament aquestes pellcules per menar el pblic contemporani vers aquella imatge platnica, ja que el mateix Plat demostra que es tracta duna imatge aplicable i, en primer lloc, a la seva filosofia idealista.
Resumo:
La caverna de Jos Saramago t com a referncia indubtable la imatge de la caverna del llibre VII de la Repblica de Plat, i, tanmateix, Saramago no s un escriptor idealista o metafsic. Aquest article mostra com, tot aprofitant laplicabilitat amb qu Plat dota la seva imatge, Saramago defensa la necessitat de saber rebre els missatges de la terra, de la matria, de no esdevenir presoners en las cavernes daurades de la societat occidental, i desdevenir lliures en la natura, phsis, i no pas lluny o ms enll, met, della.
Resumo:
La caverna de Jos Saramago tiene como referencia indudable la imagen de la caverna del libro VII de la Repblica de Platn, y, sin embargo, Saramago no s un escritor idealista o metafsico. Este artculo muestra cmo, aprovechando la aplicabilidad con que Platn dot a su imagen, Saramago defiende la necesidad de saber recibir los mensajes de la tierra, de la materia, de no convertirnos en prisioneros en las cavernas doradas de la sociedad occidental, y de ser libres en la naturaleza, phsis, y no lejos o ms all, met, de ella.
Resumo:
The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.
Resumo:
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.
Resumo:
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.
Resumo:
Las traducciones de los primeros captulos del libro VII de la Repblica de Platn en los que aparece su famosa imagen de la caverna, eikn, presentan una sorprendente e intrigante variedad interpretativa: "alegora", "mito", "fbula", "parbola", "smil", "comparacin"... Este artculo, tomando como ejemplo la notable fidelidad al texto del traductor victoriano de Platn, B. Jowett, y mediante un anlisis riguroso de los trminos que acompaan la imagen, mantiene la necesidad de no interpretar ni corregir en este caso al gran filsofo idealista o "ideocntrico", sealando al mismo tiempo, si es otro el proceder, las contradicciones resultantes y el uso de algn trmino ajeno al lxico platnico como "alegora".
Resumo:
La caverna de Jos Saramago tiene como referencia indudable la imagen de la caverna del libro VII de la Repblica de Platn, y, sin embargo, Saramago no s un escritor idealista o metafsico. Este artculo muestra cmo, aprovechando la aplicabilidad con que Platn dot a su imagen, Saramago defiende la necesidad de saber recibir los mensajes de la tierra, de la materia, de no convertirnos en prisioneros en las cavernas doradas de la sociedad occidental, y de ser libres en la naturaleza, phsis, y no lejos o ms all, met, de ella.
Resumo:
Este artigo uma homenagem memria de Maria Lcia Mott, historiadora que tem seu nome e sua produo acadmica ligados histria das mulheres e, particularmente, histria do parto, das parteiras, das instituies de sade e da filantropia. Partindo da trajetria acadmica da historiadora colocamos em relevo os temas de seus estudos e as principais publicaes que a destacaram como uma pesquisadora incansvel, criativa e comprometida com a investigao histrica.
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This report includes discussions of the general subject of water resources and flood control, including the presentation of facts and arguments which were considered in the drafting of this report. It also discusses various bills presented and a brief explanation of each bill.
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Se comentan las conclusiones sobre la estructura de dos Catalnides recientemente publicadas, resaltando la ausencia de datos concretos que permitan aplicar el modelo de la cuna compuesta de Migliorini para 1os Catalnides. Adems, los datos publicados (previamente, ms como nuestras observaciones personales, indican una clara separacin en el tiempo de una fase de comprensin y otra de distensin posterior.
Resumo:
What is the use of representing in performance the image of the cave from book VII of Platos Republic? Josep Palau i Fabre considers that in Platos dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning the myth into a tragedy and relying on Heraclituss conflict or war of opposites, the playwright succeeds in favouring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabres La Caverna, the tragic hero, 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 them his powerful experience of the agonistiks thought, which might bear fruit in their life to come.
