Suchergebnisse

El artículo analiza el coro de Suplicantes de Esquilo en el marco de los debates en torno al denominado "modelo Vernant" y postula la posibilidad de continuar aplicando dicho modelo sin perder de vista los planteos críticos. El examen parte del protagonismo del coro y su relación con los personajes y considera las posibles repercusiones que la performance pudo generar en la audiencia a partirde la figura de Pelasgo como la que opera sobre la implicación entre el coro y el público, ponderando los aspectos políticos quela tragedia pone de relieve, inherentes a las pautas institucionales de toda pólis griega, así como a ciertas características específicas de la democracia ateniense. ; The article analyzes the chorus of Aeschylus' Suppliants in the context of the debates around the so-called "Vernant model", assuming the possibility of continuing to apply that model without loosing sight of critical issues. The study starts from the leadingrole of the chorus and its relations with characters and ponders the conceivable repercussions that performance could generate onthe audience considering the figure of Pelasgus as the one that operates on the involvement between the chorus and the public,weighing the political aspects that tragedy highlights, inherent to the institutional patterns of every Greek polis as well as to somespecific characteristics of Athenian democracy. ; Facultad de Humanidades y Ciencias de la Educación

This work seeks to analyze the discursive and interpretative strategies associated to the distribution of gender roles in the third episode of Aeschylus' tragedy Agamemnon. The scene, far from being an emotional reunion between the spouses, consists of a series of resignifications regarding what is expected of a man and a woman in Ancient Greece. We will focus on the study of the elements that support and subvert the role of Clytemnestra, in an attempt to understand the queen's figure and her androgynous attributes, as well as the political implication of her actions. ; En el presente trabajo nos proponemos analizar estrategias discursivas y performáticas en tensión con el modo de configurar los géneros sexuales en el tercer episodio de la tragedia Agamenón de Esquilo. La escena, lejos de ser un emotivo reencuentro entre los esposos, se compone de una serie de resignificaciones acerca de lo que se espera de un hombre y una mujer en la Antigua Grecia. Nos enfocaremos en el estudio de los elementos que sostienen y subvierten el papel de Clitemnestra con el objetivo de aportar datos para la comprensión de la figura de la reina, en tanto andrógina, y la implicancia en términos políticos de sus actos.

This work seeks to analyze the discursive and interpretative strategies associated to the distribution of gender roles in the third episode of Aeschylus' tragedy Agamemnon. The scene, far from being an emotional reunion between the spouses, consists of a series of resignifications regarding what is expected of a man and a woman in Ancient Greece. We will focus on the study of the elements that support and subvert the role of Clytemnestra, in an attempt to understand the queen's figure and her androgynous attributes, as well as the political implication of her actions. ; En el presente trabajo nos proponemos analizar estrategias discursivas y performáticas en tensión con el modo de configurar los géneros sexuales en el tercer episodio de la tragedia Agamenón de Esquilo. La escena, lejos de ser un emotivo reencuentro entre los esposos, se compone de una serie de resignificaciones acerca de lo que se espera de un hombre y una mujer en la Antigua Grecia. Nos enfocaremos en el estudio de los elementos que sostienen y subvierten el papel de Clitemnestra con el objetivo de aportar datos para la comprensión de la figura de la reina, en tanto andrógina, y la implicancia en términos políticos de sus actos.

Richard Seaford es profesor de griego antiguo en la Universidad de Exeter. Su trabajo sobre la tragedia y la religión griegas lo ha llevado a investigar las condiciones históricas para el desarrollo radical de la cultura griega en el siglo VI a. C. y a proponer que el factor crucial de este desarrollo ha sido el dinero, dado que la polis de este período fue la primera sociedad monetizada de la historia. En la presente publicación, en la que Seaford sintetiza estos y otros reconocidos trabajos previos, el tema central es la interacción entre ritual y dinero en los únicos textos literarios que sobreviven de la primera mitad de siglo de la democracia ateniense: las tragedias de Esquilo. La investigación incluye otro aporte que resulta aún más novedoso y provocador: la demostración de las profundas afinidades entre el dramaturgo y la filosofía presocrática. (Párrafo extraído del texto a modo de resumen) ; Facultad de Humanidades y Ciencias de la Educación

Aeschylus' Supplices dramatizes an ordinary circumstance for any Athenian woman of the classic period: the transition from childhood to maturity through the ritual of marriage, a unique event across women's life, that means an abrupt change to a new life, within a foreign family. Supplices does not propose the performance of an ideal model: the Danaids not only escape from their land and their kinship, they also avoid the ideology of submission, becoming one of the paradigms of feminine transgression in Greek classical theatre. We examine this aspect starting from the philological and literary interpretation of one of the tragic odes (776-823). The analysis is based on the link between tragedy and archaic lyric poetry, according to the lines of research proposed by Calame (1977) and Swift (2010). ; Suplicantes de Esquilo pone en escena una coyuntura común a toda mujer ateniense de la época clásica: la transición de la niñez a la madurez a través del ritual del casamiento, un acontecimiento único en la vida femenina, que implica el pasaje abrupto hacia una nueva vida, en una familia ajena. Suplicantes no propone la representación de un modelo ideal: las Danaides no sólo escapan de su tierra y de sus parientes, también huyen de la ideología de la sumisión, constituyendo uno de los paradigmas de la transgresión femenina en el teatro griego clásico. Examinamos este aspecto a partir de la interpretación filológico-literaria de una de las odas trágicas (776-823). El análisis se sustenta en la relación entre tragedia y poesía lírica arcaica, según las líneas de investigación propuestas por Calame (1977) y Swift (2010). Facultad de Humanidades y Ciencias de la Educación

The new values of democracy in the Athens of the fifth century find in Greek tragedy a particularly apt way of expression. On this basis, by way of a close reading of both works called Suppliants, one by Aeschylus, the other by Euripides, it is intended to show in what sense can be said that tragedy is a test or proof for democracy. This test or proof occurs when fundamental human values are at stake by the social marginalization of groups of people particularly vulnerable. ; La tragedia griega es expresión preferencial de los nuevos valores de la democracia ateniense en el siglo V. Tomando en cuenta esta convicción, se hace una lectura de las dos obras llamadas Suplicantes, la primera de Esquilo y la segunda de Eurípides, para examinar en qué sentidos la tragedia prueba la democracia cuando valores humanitarios fundamentales quedan en cuestión por la marginación de la sociedad de grupos de personas vulnerables.

This article analyzes the construction of the alien's image in The Suppliants of Aeschylus. First, the foreigner excites curiosity and fascination, then he stirs up anxiety and rejection and he becomes 'barbarian', member of a culture uncivilized. Moreover, the author uses the look of the Other to describe apologetically his own culture and his own democracy. The analysis of the tragedy is useful to understand how we relate to other cultures and how we create the alien's image even in the present. ; Il contributo analizza la costruzione dell'immagine dello straniero nelle Supplici di Eschilo. Dapprima lo straniero suscita curiosità e fascinazione, poi invece ispira inquietudine e rifiuto, diventando 'barbaro', appartenente a una cultura incivile. Inoltre, l'autore dell'opera utilizza lo sguardo dell'Altro per definire apologeticamente la propria cultura e la propria democrazia. L'analisi della tragedia ci spinge a riflettere e a cercare di essere più consapevoli di come ci relazioniamo alle culture altre e come noi costruiamo l'immagine dell'altro anche nell'epoca attuale.

This article analyzes the construction of the alien's image in The Suppliants of Aeschylus. First, the foreigner excites curiosity and fascination, then he stirs up anxiety and rejection and he becomes 'barbarian', member of a culture uncivilized. Moreover, the author uses the look of the Other to describe apologetically his own culture and his own democracy. The analysis of the tragedy is useful to understand how we relate to other cultures and how we create the alien's image even in the present. ; Il contributo analizza la costruzione dell'immagine dello straniero nelle Supplici di Eschilo. Dapprima lo straniero suscita curiosità e fascinazione, poi invece ispira inquietudine e rifiuto, diventando 'barbaro', appartenente a una cultura incivile. Inoltre, l'autore dell'opera utilizza lo sguardo dell'Altro per definire apologeticamente la propria cultura e la propria democrazia. L'analisi della tragedia ci spinge a riflettere e a cercare di essere più consapevoli di come ci relazioniamo alle culture altre e come noi costruiamo l'immagine dell'altro anche nell'epoca attuale.

The present study focuses on the tragic heroine, Electra, who rose to prominence in the Athenian dramas of the fifth-century BC, particularly in Aeschylus's Choephori, Sophocles's Electra and Euripides's Electra, but this enigmatic figure continued to stir the imagination of the artists of the subsequent generations to the extent of making its presence memorable not only in literary texts but also in visual arts and music. This paper attempts to reveal the ways in which Electra myth has delighted and inspired various artists by stressing out the peculiarities of this myth that never seems to go out of fashion. It can also be observed that Electra's figure, even sculpted in marble severity, continues to arouse both pity and admiration in her quest and demand for justice as well as her attempts to re-establish the religious, moral and societal values.

A partir de una metodología producto de diversas propuestas de la estética de la Recepción (Jauss, et al. 1970; Hardwick 2003; Tai 2011), la presente investigación centra su atención en el conjunto de tragedias de Esquilo (Orestíada, Los Siete sobre Tebas y Prometeo Encadenado) traducidas por Juan Salas Errázuriz, presbítero jesuita y productor cultural chileno, publicadas entre 1889 y 1902. Este conjunto de traducciones es relevado en calidad de producto de un proceso (la traducción) que puede ser considerado una modalidad de recepción particular (Tai 2011). En torno a la traducción, por lo tanto, se procede no solo a caracterizar sus particularidades y aparato de notas, sino que, siguiendo a Scharlau (2004), se sitúa a estas obras en el contexto particular de producción. En consecuencia se revisan los aspectos del contexto socio-cultural en diversas dimensiones (lingüística, continental, nacional y social) que competen a la producción cultural de Salas, entre estos principalmente el proceso de reorganización y modernización llevado a cabo por la Iglesia católica y la curia chilena a lo largo del siglo XIX, proceso que conllevó, entre muchos cambios, un ingreso de ciertos elementos de la curia nacional a esferas culturales en plena formación, en particular la publicidad moderna así como el campo cultural y literario. Una vez relevados los aspectos de la modernización de la Iglesia católica y la curia nacional, se revisan las particularidades que asume en Salas el proyecto cívico cultural católico, con el fin de entender las posibles fuentes o modelos discursivos, poéticos, teóricos, teológicos, estéticos y dogmáticos desde donde este concibe el rol del catolicismo en el campo cultural y literario, así como la relación que debe establecer la poesía y la comunidad nacional. A continuación se caracteriza el tipo de traductor que informa no solo la labor de Salas sino en gran medida a los traductores latinoamericanos más consagrados del siglo XIX. Finalmente se revisan las fuentes que influyen en Salas en la configuración de esta particular recepción de la tragedia griega, de Esquilo y la relación entre poesía, pólis, religión y militarismo, manera que se complementa a su vez con ciertas decisiones que Salas toma al momento de traducir a Esquilo, y que afectaría no solo las decisiones que este toma para la traducción como producto final, sino que de igual manera estaría presente en ciertas temáticas presentes en obras de Esquilo aunque re-digiridas, a través de la traducción, a modelos en sintonía con el interés católico finisecular de Salas. ; Starting from questions stated by Reception studies (Jauss, Hardwick, et. Al 1970; Hardwick 2003; Tai 2011), the present research centers its attention on the corpus of Aeschylean tragedies (the Orestiad trilogy, Seven against Thebes and Prometheus bound) translated by Juan Salas Errázuriz, a chilean jesuit priest, published between 1889 and 1902. This corpus of translations is relevated, thus, as a product of the translation as a process that it can be considered as well as a particular reception modality (Tai 2011). Regarding the translation, on addition, we proceed not only to characterize the particularities that Salas' work present, but also, following Scharlau (2004), we treat the corpus regarding its socio-cultural context, this is, treat the translation in situ. In consequence we considered the aspects of the socio-cultural context of production in several dimensions (linguistic, continental, national and social) that are related to Salas' cultural production, among these specially the process of re-organization and modernization of the Catholic Church and the chilean chapter along the XIXth century, process that consisted, among many changes, in the active participation of certain elements of the national Catholic Church members into cultural spheres in formation, specially the modern publicity and the cultural and literary field as well. Once considered the aspects of the Catholic Church modernization in Chile, we analyze the particularities that this process assumes regarding Salas' civic-cultural catholic project, with the aim of understand the possible influences and discursive, poetic, theoric, theologic, aesthetic and dogmatic models from whom Salas conceives the role of catholicism regarding the cultural and literary field and the relation that, according to this frame, poetry and national community must establish as well. Next we caracterize the type of translator that constitutes not only Salas' work but also pretty much the vast majority of the latinamerican translators of the same period. Finally, we revise the way how the influences behind Salas' particular conception of his production modeled his particular perception of attic tragedy, Aeschylus and the relation between poetry, polis, religion and militarism, way that it complements with certain choices that Salas takes at the moment of translate Aeschylus and that would affect not only the decisions that Salas take in order to make a final product, but also as a way that it would be present in certain themes presents in Aeschylus' plays yet re-directed, through translation, to models in sintony with the particular Salas' catholic contextual interest.

Filmed with: Hoffmann, F. / Übersetzungsstücke zur Einübung der Casussyntax im Griechischen -- Hohenberg, Oscar / Ueber das Verhältniss der Kantischen Philosophie zur platonischen Ideenlehre -- Hoffman, Karl, of Kassel / Panathenaikos -- Hult, Joh. Ferd. / Cornelii Taciti De origine situ moribus ac populis Germaniae liber suethice redditus et annotationibus illustratus -- Lysias ; Huss, Magnus Wilhelm / Lysiae contra Philonem oratio : latine reddita et adnotationibus instructa -- Hedqvist, Vilhelm / De formis syncopatis, quae vocantur, verbi Latini -- Hoffmann, Emanuel / Patricische und plebeische Curien : ein Beitrag zu römischen Staatsrechte -- Hofmann, Friedrich / Der Kritische Apparat zu Ciceros Briefen an Atticus -- Hoffmann, Waldemar Karl Adolf / De infinitivi apud Ovidium usu -- Hecker, W. / Demosthenes en H. Lord Brougham en Lysias en W. A. Hirschig -- Hofmann, George, of Triest / Drei synchronistische daten des römischen Kalenders vor der julianischen Reform -- Gidionsen, Wilhelm / De eo quod Stoici naturae convenienter vivendum essse : principium ponunt -- Holtze, Friedrich Wilhelm / Syntaxis fragmentorum scaenicorum poetarum romanorum qui post Terentium fuerunt adumbratio -- Hug, Arnold / Die Entscheidungsprozess zwischen Aeschines und Demosthenes -- Holzner, Eugen / Plato's Phaedrus und die Sophistenrede des Isokrates -- Huth, Philip Ludwig / De ornamentis codicum veterum -- Hultman, Petrus / Adagia Theocritea -- Hülsenbeck, Joseph / De glossematis veris et falsis in Taciti Agricola -- Heydemann, A. G. / Die Kategorien des Aristoteles -- Hückstädt, Ernst Wilhelm Gustav / Ueber das pseudotertullianische Gedicht Adversus Marcionem -- Horace ; Hug, Theodor, tr. / Zwei gespräche des Horaz : I, 6 und II, 6 -- Hüllmann, Karl Dietrich / De re argentaria veteris et medii aevi ; "Vortrag, gehalten im Wissenschaftlichen vereine zu Schwerin am 15. December 1877"--Cover. ; Microfilm. ; Mode of access: Internet.

In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian "international policies." Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus' and Euripides' works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos. ; In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian "international policies." Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus' and Euripides' works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.