Abandonando la caverna en busca de la vida (Lectura platónica de La caverna de Rodolf Sirera)

El objetivo de este artículo es mostrar cómo un dramaturgo contemporáneo piensa de nuevo en la imagen platónica de la caverna para hablar del necesario viaje existencial y de la formación del hombre, lejos de la protección que las cavernas de cualquier tipo, como el hogar, el jardín familiar o la misma familia, pueden representar. Aunque desde una perspectiva en absoluto idealista o metafísica, Platón se convierte una vez más gracias a R. Sirera y a la aplicabilidad de las mismas imágenes platónicas en una referencia clásica tan útil como ineludible, si se tiene en cuenta el origen platónico de todas las cavernas literarias.

Rutas cinematográficas hacia la imagen platónica de la caverna

El objetivo de este artículo es demostrar la posibilidad de llegar también a la imagen platónica de l caverna desde el cine. En este sentido se puede hablar de referencias explícitas como en el caso de El conformista de B. Bertolucci o Shadowlands de R. Attenborough, si se tienen presentes las Crónicas 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 platónica no pueda ser demostrada, por ejemplo en The Truman Show, A Room with a View o Brideshead Revisited, podemos servirnos perfectamente de estas películas para guiar al público contemporáneo hacia aquella imagen platónica, ya que el mismo platón demuestra que se trata de una imagen aplicable y, en primer lugar, a su filosofía idealista.

Phosphorus fractions in sandy soils of vineyards in southern Brazil

Phosphorus (P) applications to vineyards can cause P accumulation in the soil and maximize pollution risks. This study was carried out to quantify the accumulation of P fractions in sandy soils of vineyards in southern Brazil. Soil samples (layers 0-5, 6-10 and 11-20 cm) were collected from a native grassland area and two vineyards, after 14 years (vineyard 1) and 30 years (vineyard 2) of cultivation, in Santana do Livramento, southern Brazil, and subjected to chemical fractionation of P. Phosphorus application, especially to the 30-year-old vineyard 2, increased the inorganic P content down to a depth of 20 cm, mainly in the labile fractions extracted by anion-exchange resin and NaHCO3, in the moderately labile fraction extracted by 0.1 and 0.5 mol L-1 NaOH, and in the non-labile fraction extracted by 1 mol L-1 HCl, indicating the possibility of water eutrophication. Phosphorus application and grapevine cultivation time increased the P content in the organic fraction extracted by NaHCO3 from the 0-5 cm layer, and especially in the moderately labile fraction extracted by 0.1 mol L-1 NaOH, down to a depth of 20 cm.

Rutes cinematogràfiques vers la imatge platònica de la caverna

L'objectiu d'aquest article és demostrar la possibilitat d'arribar també a la imatge platònica de la caverna des del cinema. En aquest sentit es pot parlar de referències explícites, com en el cas de El conformista de B. Bertolucci, o Shadowlands -si es tenen presents les Cròniques de Nàrnia de C. S. Lewis- o The Picture of Dorian Gray -si es té present la novel·la d'Oscar Wilde-, però, en d'altres ocasions, tot i que la influència platònica no pugui ser demostrada, per exemple a The Truman Show, A Room with a View o Brideshead Revisited, podem emprar perfectament aquestes pel·lícules per menar el públic contemporani vers aquella imatge platònica, ja que el mateix Plató demostra que es tracta d¿una imatge aplicable i, en primer lloc, a la seva filosofia idealista.

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.

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.

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.

La "imagen" de la caverna y la tentación constante de corregir a Platón: Benjamin Jowett como ejemplo

Las traducciones de los primeros capítulos del libro VII de la República de Platón en los que aparece su famosa imagen de la caverna, eikón, presentan una sorprendente e intrigante variedad interpretativa: "alegoría", "mito", "fábula", "parábola", "símil", "comparación"... Este artículo, tomando como ejemplo la notable fidelidad al texto del traductor victoriano de Platón, B. Jowett, y mediante un análisis riguroso de los términos que acompañan la imagen, mantiene la necesidad de no interpretar ni corregir en este caso al gran filósofo idealista o "ideocéntrico", señalando al mismo tiempo, si es otro el proceder, las contradicciones resultantes y el uso de algún término ajeno al léxico platónico como "alegoría".

Tot sortint de la caverna per cercar la vida (Lectura classicitzant de La caverna de Rodolf Sirera)

L'objectiu d'aquest article és mostrar com un dramaturg contemporani pensa de bell nou en la imatge platònica de la caverna per parlar del necessari viatge existencial i de formació de l'home, lluny de la protecció que les cavernes de qualsevol tipus, com ara la llar, el jardí­ familiar o la mateixa famí­lia, poden representar. Tot i que des d'una perspectiva en absolut idealista o metafí­sica, Plató esdevé una vegada més gràcies a R. Sirera i a l'aplicabilitat de les mateixes imatges platòniques una referència clàssica tan útil com ineludible, si es té en compte l'origen platònic de totes les cavernes literàries.

Chemical properties and mineralogy of soils with plinthite and petroplinthite in Iranduba (AM), Brazil

Large areas of Plinthosols with ferruginous materials such as plinthite and/or petroplinthite are fairly common in the Brazilian Amazon basin. This work was carried out to investigate the chemical behavior, mineralogical composition and weathering stage of four representative soil profiles with plinthite and petroplinthite, in Iranduba, AM (Central Amazon). Three well-drained soil profiles at high elevations were studied (P1, Plinthic Vetic Ferralsol; P2 and P3, Vetic Endopetric Plinthosol) and a contrasting poorly drained soil (P4 Haplic Plinthosol), located at low elevation. After profile descriptions, soil samples were collected from each horizon, air-dried, sieved (2 mm), and analyzed for particle-size distribution, pH, exchangeable cations (Al3+, Ca2+, Mg2+, K+, and Na+), as well as available P and total organic carbon (TOC) content. The minerals present in the clay and sand fractions, as well as in the ferruginous materials were identified by X-ray Diffraction (XRD). The weathering stage of these soils was assessed by means of Ki and Kr indexes, and the amounts of free and amorphous Fe and Al oxides by using dithionite citrate bicarbonate (DBC) and ammonium oxalate dissolution procedures, respectively. The results showed that all soils were extremely unfertile, with pH levels ranging between strong and moderate acidity, very low sum of bases and organic matter content, and of available P. The mineralogy of the soil profiles was very similar, mainly of the well-drained soils, with predominance of kaolinite and quartz in the clay and sand fractions, respectively. In the poorly-drained P4, 2:1 clay particles were also observed. These profiles can be considered highly developed according to the Ki index, however, the Ki value of P4 was higher, indicating that this soil was less developed than the others. In summary, these profiles with plinthite and petroplinthite can be characterized as highly developed and infertile soils and are, with exception of P4, well-drained.

Platonic shadows and lights in Luis Cernuda's poetry: their didactic use

The aim of this article is to show a wide range of lights and shadows in Luis Cernuda's poetry as images which have a specific reference -in spite of not being mentioned-, that is, the Platonic image of the cave. It is thanks to the images that the poet shows us his ideal world, in which shadows symbolize the beautiful, perfect and everlasting world in which Luis Cenuda needs to believe. Once more, it deals with that well-known tension between reality and desire which defines the essence of his poetry.

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.