Hedwig and The Angry Inch: el Plató més alternatiu

L'objectiu d'aquest article és mostrar com un mite antic, el mite dels tres gèneres, també anomenat de l'androgin de l'Aristòfanes del Simposi de Plató, esdevé per a John Cameron Mitchell la imatge adient per a explicar l'especial personalitat d'un home, Hedwig, que esdevé mitjançant una operació un androgin imperfecte, però que simbolitza la possibilitat d'una humanitat unida o l'acostament de móns diferents, de la mateixa manera que ell va pertànyer a les dues Berlín dividides per un mur que ara ja ha caigut, quedant restablerta així la unitat perduda.

Hedwig and The Angry Inch: el Platón más alternativo

El objetivo de este artículo es mostrar cómo un mito antiguo, el mito de los tres géneros, también llamado del andrógino del Aristófanes del Simposio de Platón, deviene para John Cameron Mitchell la imagen idónea para explicar la personalidad especial de un hombre, Hedwig, que se convierte mediante una operación en un andrógino imperfecto, pero que simboliza la posibilidad de una humanidad unida o el acercamiento de mundos diferentes, al igual que él perteneció a las dos Berlín divididas por un muro que ahora ya ha caído, restableciéndose así la unidad perdida.

Hedwig and The Angry Inch: Plato at the Sundance Film Festival

The aim of this article is to show how an ancient myth, that of the three genres, also known as the myth of the androgynous by Aristophanes in Plato¿s Symposium, becomes for John Cameron Mitchell the suitable image in order to explain the peculiar personality of a man, Hedwig, who by means of a surgical operation becomes in his turn an imperfect androgynous but symbolises the need of a sole mankind or the unity of different worlds, just as he belonged to both Berlins divided by an already fallen wall, which permitted their inhabitants to recover their lost unity and identity.

Albert Lewin. Pandora and the Flying Dutchman: the Semiologic Potential of a Greek Myth

Albert Lewin, a well-known Hollywood cinema director who is significantly influenced by the surrealistic movement, brings together the myth f Pandora and the legend of the flying Dutchman in order to create an exemplary love story, a crazy love story which goes beyond the limits of human reason. Bearing in mind, then, that if one wants to believe in this sort of love story must not be guided by human reason stricto sensu, he builds a world of signs, a semiologic world which this article aims at helping to interpret.

The fat Prince and the Angry Man.

Forma parte de una serie de lectura para niños en doce niveles diferentes divididos en historias que todavía están relacionadas con las experiencias de los alumnos y, por tanto, despiertan el interés por la lectura. En este nivel ya se han introducido historias más complejas como ésta de fantasía que trata sobre los hábitos en la nutrición y cuenta las aventuras de un príncipe gordo. Cada cuatro páginas hay juegos de palabras, crucigramas, verdadero-falso y preguntas de selección múltiple para reforzar la comprensión del texto.

Albert Lewin: Pandora y el Holandés Errante. La potencialidad semiológica de un mito griego

Albert Lewin, conocido director de cine de Hollywood influenciado por el movimiento surrealista, une el mito de Pandora con la leyenda del Holandés errante para crear una historia de amor ejemplar, una historia de amor loco que va más allá de los límites de la racionalidad. Y, como que para creer en este tipo de amor no es la razón stricto sensu la que nos ha de guiar, construye un mundo de signos, un mundo semiológico complejo que este artículo ayuda a descifrar.

Albert Lewin: Pandora i l'Holandès Errant. La potencialitat semiològica d'un mite grec

Albert Lewin, conegut director de cinema de Hollywood influenciat pel moviment surrealista, conjumina el mite de Pandora amb la llegenda de l'Holandès errant per crear una història d¿amor exemplar, una història d¿amor foll que va més enllà del límits de la racionalitat. I, com que per creure en aquest tipus d'amor no es la raó stricto sensu la que ens ha de guiar, basteix tot un món de signes, un món semiològic complex que aquest article ajuda a desxifrar.

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.

New York versus Tragedy and Oedipus. The Legacy of Sophocles and the Sophists in Woody Allen's "Crimes and Misdemeanors"

Beyond the explicit reference to the Greek tragedy and Oedipus, the aim of this article is to show the clear relationship, in the author's opinion, between what the protagonists of the film maintain and the theories of the Greek Sophists about God, the law, etc. An accurate analysis both of their texts and the screenplay of Crimes and Misdemeanors reveals different sophistic roots, which, in this case, cannot be attributed to the constant presence of the Jewish legacy in W. Allen's work.

Observations of variable stars of long period made with the 16-inch equatorial and 5-inch finder at Goodsell Observatory during the years 1916-1919,

Mode of access: Internet.

The geology of Rutland and the parts of Lincoln, Leicester, Northhampton, Huntingdon, and Cambridge, included in sheet 64 of the one-inch map of the Geological survey, with an introductory essay on the classification and correlation of the Jurassic rocks of the Midland district of England.

"Bibliography of the district": p. 293-301.

LOOKING FOR DIONYSUS: HEDWIG RAABE AND THE HAUNTING OF THE BIRTH OF TRAGEDY

This thesis explores the relationship of the actress Hedwig Raabe’s 1866 performance in Charlotte Birch-Pfeiffer’s play Die Grille to the philosopher Friedrich Nietzsche’s 1872 book The Birth of Tragedy. This exploration is structured by theatre scholar Marvin Carlson’s concept of haunting. I conclude that the haunting of Nietzsche’s text by Raabe’s performance destabilizes the former and points towards new ways of understanding The Birth of Tragedy in the fields of theatre and performance studies.

Return of the 'Angry Woman': authenticating female physical action in contemporary cinema

In 1999, Elizabeth Hills pointed up the challenges that physically active women on film still posed, in cultural terms, and in relation to certain branches of feminist theory . Since then, a remarkable number of emphatically active female heroes have appeared on screen, from 'Charlie’s Angels' to 'Resident Evil', 'Aeon Flux', and the 'Matrix' and 'X-Men' trilogies. Nevertheless, in a contemporary Western culture frequently characterised as postfeminist, these seem to be the ‘acceptable face’ – and body – of female empowerment: predominantly white, heterosexual, often scantily clad, with the traditional hero’s toughness and resolve re-imagined in terms of gender-biased notions of decorum: grace and dignity alongside perfect hair and make-up, and a body that does not display unsightly markers of physical exertion. The homogeneity of these representations is worth investigating in relation to critical claims that valorise such air-brushed, high-kicking 'action babes' for their combination of sexiness and strength, and the feminist and postfeminist discourses that are refracted through such readings. Indeed, this arguably ‘safe’ set of depictions, dovetailing so neatly with certain postfeminist notions of ‘having it all’, suppresses particular kinds of spectacles in relation to the active female body: images of physical stress and extension, biological consequences of violence and dangerous motivations are all absent. I argue that the untidy female exertions refused in popular “action babe” representations are now erupting into view in a number of other contemporaneous movies – 'Kill Bill' Vols 1 & 2, 'Monster', and 'Hard Candy' – that mark the return of that which is repressed in the mainstream vision of female power – that is, a more viscerally realistic physicality, rage and aggression. As such, these films engage directly with the issue of how to represent violent female agency. This chapter explores what is at stake at a representational level and in terms of spectatorial processes of identification in the return of this particularly visceral rendering of the female avenger.