Greece and Platonic Love in E. M. Forster's Maurice, or the greatness and limits of Antiquity as a source of inspiration.

The aim of this article is to show how, although the evident idealization of Greece and Platonic love throughout the Victorian-Edwardian England, both also show their limits. In order to make it clear the author refers constantly to the implicit Greek texts such as Plato's Symposium and Phaedrus and perhaps even to Plutarch¿s Eroticus in search of a Classical Tradition which is highly significant in order to understand that England at the beginning of the twentieth century.

Filón de Alejandría y su De opificio mundi (LIII-LXI): descubriendo las claves de la misoginia griega y occidental platónica en un texto judío platonizante

El objetivo de este artículo es mostrar la secular tradición misógina occidental desde sus orígenes en Grecia, analizando un texto del intérprete alegórico de la Biblia Filón de Alejandría, el De opifico mundi, al cual aplica una lectura claramente platonizante. El análisis minucioso de los capítulos dedicados a la creación divina de la mujer muestra hasta qué punto no es posible entender este texto sin tener en cuenta una tradición filosófica griega ya entonces secular.

Faire dire, pour décrire. Caractérisation langagière des personnages et poétique du récit dans la littérature comique et satirique (XVIIe et XVIIIe siècle)

Phénomène reconnu de longue date, dont les rhéteurs et les écrivains ont même souvent vanté l'efficacité pour réaliser un portrait moral convaincant, la caractérisation langagière des personnages n'a été que peu observée selon une perspective générale, comme si son étude ne pouvait s'envisager en dehors du projet esthétique d'un auteur particulier. Cependant, on peut envisager la caractérisation langagière comme procédant d'une poétique du récit, c'est-à-dire comme un mécanisme du texte narratif, dont certaines constantes peuvent être décrites. L'objectif du présent travail est ainsi de mettre au jour les conditions, tant textuelles que contextuelles, devant être réunies pour que certains aspects des discours rapportés fassent sens en tant qu'éléments de caractérisation. La nature indirecte de ce phénomène demande en effet de porter une attention particulière à ce qui relève des conditions de production et d'interprétation du texte, autrement dit des éléments contextuels que le texte convoque (liés à la langue, aux genres, au « texte » de la culture, etc.) afin de (re)construire par inférence ce qui est dit « sans être dit ». Ainsi la caractérisation langagière reposet- elle sur la reconnaissance d'un rôle thématique endossé par le personnage, rôle défini en partie par certains « habitus » discursifs. Mais il importe également de considérer la caractérisation langagière comme un effet de la textualité. Cela concerne d'abord des unités manipulées par les auteurs (mots, structures syntaxiques, phonologie...). Néanmoins, rien ne se joue sur un unique élément ; au contraire, d'une part, il faut qu'une série de traits s'organisent en un réseau isotope, et cela de la réplique isolée au texte entier ; d'autre part, la caractérisation dérive encore des relations que le discours d'un personnage entretient avec des discours avoisinants, en premier lieu celui du narrateur. Se concentrant sur des oeuvres comiques ou satiriques des XVIIe et XVIIIe siècles, l'approche proposée ici veut également tenir compte d'une tradition rhétorique et poétique qui associe portrait moral et parole représentée, tradition encore très présente dans un tel corpus, qui a par ailleurs l'avantage de laisser entrer dans le monde de la fiction des personnages de toutes conditions, dotés de leurs langages spécifiques.

Woody Allen i l'esperit de la tragèdia grega: de Crimes and Misdemeanors a Match Point

Nombrosos són ja els estudis que s'han centrat en l'anomenat "cinema seriós" de Woody Allen i, entre ells, paga la pena de mencionar el que Pau Gilabert Barberà, autor d'aquest article, va escriure (2006) sobre el que, en opinió seva, és el llegat sofístic subjacent en el guió de Crimes and Misdemeanors. En aquesta ocasió, el seu objectiu és analitzar la trajectòria fluctuant del director americà en relació a la tragèdia grega, des de la convicció que, només així, és possible revelar la seva empatia amb l'esperit tràgic dels grecs i comprendre la seva necessitat de presentar aquell gènere literari com un paradigma des del qual entendre les grandeses i misèries del món contemporani.

Woody Allen and the Spirit of the Greek Tragedy: from Crimes and Misdemeanors to Match Point

Many studies have already paid attention to what is called the "serious films" by Woody Allen and, among them, it is also worth mentioning the one written by the very Pau Gilabert Barberà (2006), which is devoted to the Sophistic legacy underlying in his opinion the screenplay of Crimes and Misdemeanors. On this occasion, his aim is to analyse the fluctuating sight of the American director with regard to the Greek tragedy. Indeed, Gilabert is convinced that, only in this way, it is possible to reveal the true Allen¿s sympathy with the tragic spirit of the Greeks, as well as to understand his urge to present that ancient literary genre as a paradigm with the help of which one can evaluate the greatness and misery of our contemporary world.

Woody Allen y el espíritu de la tragedia griega: de Crimes and Misdemeanors a Match Point

Numerosos son ya los estudios que se han centrado en el llamado "cine serio" de Woody Allen y, entre ellos, cabe mencionar el que Pau Gilabert Barberà, autor de este artículo, escribió (2006) sobre lo que, en su opinión, es el legado sofístico subyacente en el guión de Crimes and Misdemeanors. En esta ocasión, su objetivo es analizar la trayectoria fluctuante del director americano en relación con la tragedia griega, desde la convicción de que, sólo así, es posible revelar su empatía con el espíritu trágico de los griegos y comprender su necesidad de presentar aquel género literario como un paradigma desde el cual entender las grandezas y miserias del mundo contemporáneo.

"Maurice" de James Ivory . ¿Traición a la Tradición Clásica al adaptar la novela de E. M. Forster?

De acuerdo con los estudios sobre literatura y cine y desde el punto de vista de la influencia de la Tradición Clásica -Tradición Griega Clásica, en este caso-, este artículo es un análisis minucioso de las traiciones inevitables ¿hasta un cierto punto- de los guionistas a los textos literarios que adaptan. Sin embargo, a pesar de ser prácticamente inevitable, el Dr. Pau Gilabert Barberà indica cuáles son en su opinión los límites más allá de los cuales Ivory/Hesketh-Harvey no deberían haber ido a fin de no diluir el temperamento helénico de "Maurice" de E. M. Forster.

La caverna de José Saramago: imatge platònica versus metafísica

La caverna de José Saramago té com a referència indubtable la imatge de la caverna del llibre VII de la República de Plató, i, tanmateix, Saramago no és un escriptor idealista o metafísic. Aquest article mostra com, tot aprofitant l¿aplicabilitat amb què Plató dota la seva imatge, Saramago defensa la necessitat de saber rebre els missatges de la terra, de la matèria, de no esdevenir presoners en las cavernes daurades de la societat occidental, i d¿esdevenir lliures en la natura, phýsis, i no pas lluny o més enllà, metá, d¿ella.

La caverna de José Saramago: imagen platónica versus metafísica

La caverna de José Saramago tiene como referencia indudable la imagen de la caverna del libro VII de la República de Platón, y, sin embargo, Saramago no és un escritor idealista o metafísico. Este artículo muestra cómo, aprovechando la aplicabilidad con que Platón dotó 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, phýsis, y no lejos o más allá, metá, de ella.

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.

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.

Mourning becomes Electra de Eugene O'Neill: ¿Esquilo y la caverna de Platón para crear un drama oscuro?

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.

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.

Verí sense antídot per al Sòcrates històric i la tragèdia barroca al Verí del teatre de Rodolf Sirera. (Una dosi extrema de sadisme per aturar els excessos de la ficció teatral).

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.

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.