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.

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

Anti-Hellenism and Anti-Classicism in Oscar Wilde's Works. The Second Pole of a Paradoxical Mind.

Thanks to a powerful intellectual weapon, paradox, Oscar Wilde also discovers the dark side of both Classicism and Hellenism. An accurate analysis of his works from the point of view of the Classical Tradition shows an Oscar Wilde who is quite different from the usual Philhellenic one and, above all, from the Platonic one. The aim of this article is to approach a theme which has been hardly studied by classical philologists, that is, anti-classicism and anti-hellenism as an intellectual urge.

Cinema Roads to the Platonic Image of the Cave

The aim of this article is to prove the real possibility of travelling intellectually to the Platonic image of the cave from different films. In this sense, one can speak of explicit references as in The Conformist by B. Bertolucci or in Shadowlands by R. Attenborough -if one bears in mind the Chronicles of Narnia by C. S. Lewis- or The Picture of Dorian Gray ¿if one bears in mind the well-known O. Wilde¿s novel-, but, on other occasions, although the Platonic influence cannot be proved, for instance in The Truman Show, A Room with a View or Brideshead Revisited, one can perfectly think of these films in order to guide the contemporary audiences to that Platonic image, since Plato himself affirms that it deals with an image which can be easily applied and, in first place, to his idealistic philosophy.

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.

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".

Mourning becomes Electra d'Eugene O'Neill: Èsquil i Plató per a crear un drama fosc?

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.

Didàctiques llums i ombres platòniques en la poesia de Luis Cernuda

L'objectiu d'aquest article és revelar l'ús reiterat de les llums i les ombres en la poesia de Luis Cernuda, com a imatges que tenen com a referent concret -bé que no mencionat- la imatge platònica de la caverna. És justament gràcies a les imatges que el poeta ens mostra el seu univers ideal, en el qual la foscor simbolitza el món material condemnat a morir, mentre que la llum és el símbol del món bell, perfecte i etern en què Luis Cernuda necessita creure. Es tracta, un cop més, de la tensió entre realitat i desig que defineix l'essència de la seva poesia.

Didácticas luces y sombras platónicas en la poesía de Luis Cernuda

El objetivo de este artículo es revelar el uso reiterado de las luces y las sombras en la poesía de Luis Cernuda, como imágenes que tienen como referente concreto ¿aunque no mencionado- la imagen platónica de la caverna. Es justamente gracias a las imágenes que el poeta nos muestra su mundo ideal, en el cual la oscuridad simboliza el mundo material condenado a morir, mientras que la luz es el símbolo del mundo bello, perfecto y eterno en que Luis Cernuda necesita creer. Se trata, una vez más, de la tensión entre realidad y deseo que define la esencia de su poesía.

Evidências genético-arqueológicas sobre a origem do feijão comum no Brasil

Neste trabalho se discute a origem do feijão comum, Phaseolus vulgaris L. Amostras modernas e arqueológicas foram analisadas geneticamente, utilizando-se seqüências da proteína faseolina (Phs). A amostra arqueológica foi encontrada em uma caverna no Norte de Minas Gerais. Os resultados evidenciam que esta amostra se relaciona mais com as variedades de feijão encontrados no Norte da América do Sul e México, o que sugere influências culturais remotas entre aquelas regiões e Minas Gerais. Além disto, deve ter havido um único evento de domesticação, com local provável entre o Norte da América do Sul e o México.

The Conformist by Bernardo Bertolucci: Alberto Moravia + Plato against fascism

Why Bernardo Bertolucci, when adapting as a film Alberto Moravia’s novel Il conformista, introduced into its homonymous The Conformist the Platonic image of the cave? The article is to give an answer to this question by analysing Moravia’s work in search of “cave images”, which would justify Bertolucci’s decision.

El conformista de Bernardo Bertolucci: Alberto Moravia + Platón contra el fascismo

[spa] ¿Por qué Bernardo Bertolucci, al adaptar cinematográficamente la novela de Alberto Moravia Il conformista, introdujo en The Conformist la imagen platónica de la caverna? Este artículo preende dar respuesta a esta pregunta mediante el análisis de una parte considerable de la obra de Moravia.

El conformista de Bernardo Bertolucci: Alberto Moravia + Plató contra el feixisme

[cat] Per què Bernardo Bertolucci, en fer l’adaptació cinematogràfica de la novel·la d’Alberto Moravia Il conformista, introduí a The Conformist la imatge platònica de la caverna? Hom pretén donar resposta a aquesta pregunta mitjançant l’anàlisi de bona part de l’obra de Moravia.

Mourning Becomes Electra by Eugene O’Neill: Aeschylus and Plato’s Cave to Create a Dark Drama

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.

José Saramago, un clásico ibérico.

Se relata la biografía de José Saramago, premio Nobel de Literatura en lengua portuguesa en el año 1998. Se desglosa su obra literaria hasta su muerte en Lanzarote el 18 de junio de 2010 a los 87 años. Entre sus obras más importantes están: Ensayo sobre la ceguera, Todos los nombres, La caverna, El hombre duplicado y Las pequeñas memorias. Se erigió en uno de los más acérrimos defensores de una Iberia unida, en la que España y Portugal fueran un sólo país.