Lejos de la interpretación de Leon Battista Alberti como prototipo del "hombre universal", GARIN ha reconocido el carácter contradictorio del pensamiento albertiano. En efecto, en la extensa y polifacética obra del humanista genovés coexisten dos visiones antagónicas del hombre y el mundo. A una le corresponde la confianza en la razón, a la otra la constatación del carácter absurdo de la existencia. Este Alberti "sombrío" se expresa en las páginas de Momus y las Intercenales. En ellas, la apelación a una (...) existencia simulada es abordada a través de una risa desacralizadora del ideal humano que alumbró el temprano Renacimiento italiano. Far from the interpretation of Leon Battista Alberti as a prototype of the "universal man", GARIN has analyzed the contradictory nature of Alberti's thought. In fact, in the extensive and versatile work of the Genoese humanist two opposite visions of man and the world coexist: one believes in the power of reason, the other acknowledges the absurdity of life. It is in Momus and the Intercenales that this "somber Alberti" is present. In these texts the appeal to a simulated life is addressed through a form of laughter that demystifies the human ideal of the early Italian Renaissance. (shrink)

O presente trabalho trata de analisar a fala do famoso comediante grego Aristófanes, trazida por Platão em seu Simpósio. A fala da personagem aqui é interpretada considerando sua descrição da natureza humana a partir do famoso mito dos andróginos e as implicações do desejo (Eros) para a felicidade humana. Estranhamente, ao término da fala do comediante não há risos, provavelmente, porque o conteúdo falado foi um assunto sério que revelou a dimensão trágica de Eros para a vida humana.

Nesse artigo, pretendo demonstrar de que modo podemos presenciar no discurso do Aristófanes do Symposium platônico, algumas piadas estanques próprias à comédia aristofânica e, principalmente, de que maneira a literalização da metáfora, expediente dramático recorrentemente utilizado por Aristófanes, aparece luminosamente dentro do diálogo, cumprindo uma função cuja comicidade foi substituída pela trágica impotência humana frente à superioridade divina.

This paper analyzes and discusses related passages of Euripides’ „Electra“ and Aristophanes’ „Wasps“ in order to suggest a date for the performance of the „Electra“. Particularly interesting are: Ar. „Wasps“ 615 and Eur. „Electra“ 985; „Wasps“ 1490, 1492, 1530 and „Electra“ 860-861, which seem to reveal more complex dynamics of dependence in the Aristophanic attempt to mock the language excessively hyperbolic of Euripides. In my opinion these puns and innuendos may endorse the dating of Euripides’ „Electra“ at the Great Dionysia (...) of 423 b. C. one year before the performance of Aristophanes’ „Wasps“. (shrink)

This article begins by analysing the homily Quod frequenter conveniendum sit, in which John Chrysostom represents himself as Elijah, in a way shaped politically by his years in Constantinople and his amazing project of building a Christian/gospel-based politeia. His representation is marked by the idea of philanthropia and in competition with similar ideas found in Neo-Platonic contexts. The article suggests that this representation is replayed in a polemical key in John’s circles to represent the clash with Eudoxia. The use of (...) the verb κωμῳδέω in the spurious In ss. Petrum et Heliam offers a window onto the strategy of the supporters of the deposed bishop of reworking this identification of John with Elijah; this shows that the image of himself as monk, martyr and also persecuted prophet, which Chrysostom had constructed of in his years of exile, was welcomed and adopted by others. (shrink)

El estudio de las emociones en la Antigüedad ha tenido en las últimas décadas una gran eclosión. En su desarrollo, la propuesta aristotélica de los afectos ha recibido una atención especial. En ese marco, se ha observado que la emoción de la ‘indignación’, tal como la define el Estagirita no habría recibido por parte de los griegos el nombre que este le asigna. La objeción se funda, sobre todo, en los testimonios de las oraciones forenses. Nuestra propuesta incorpora el testimonio (...) de la comedia aristofánica a la discusión, ya que la indignación ha sido considerada por muchos la emoción típica de la comedia. (shrink)

Normal 0 21 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabela normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} Este artigo verifica a possibilidade de compreender a Ética de Estado como uma das propostas de leitura da célebre comédia de Aristófanes As Aves . Para tal é fundamental que seja demonstrado no que se chamaria mito da cidade ideal, uma alegoria literária desta cidade ideal e os (...) fundamentos em contraposição dos modelos vigentes das cidades-estado gregas, mas propriamente Athenas, na especulação de que os erros políticos e os vícios sociais da pólis constituem este ambiente para a analogia que surge na discussão sobre os padrões éticos mínimos exigidos no conjunto de qualquer organização social. (shrink)

Este texto se propone interpretar la mencionada obra del comediante ateniense a la luz de la múltiple relación entre guerra – eros – paz. La hipótesis que queremos sostener indica que para Aristófanes el hombre se encuentra en un curioso estado paradójico respecto de la guerra, puesto que no puede vivir sin deseo, pero es el deseo el que también conduce a la guerra.

ABSTRACT The objective of this study is to analyze the late 5th century BC in Athens through the lens of an Aristophanic comedy. We shed light on the role of political factions (the hetaireia), which were not limited to public assemblies: by funding stage plays, they constituted a form of political persuasion over the citizens who would vote on matters discussed in the assemblies. For this purpose, we examined the choregic system as a form of domination, analyzed Andocides’ speeches from (...) 415 BC about political disputes (both in theater and, more subtly, in opposition groups), and investigated the topic through a discourse analysis of the comedy The Frogs by Aristophanes (Bátrakhoi, 405 BC). (shrink)

In a sociolinguistic perspective, this paper deals with the Aristophanic use of the technical languages, given that according to some recent research there is no room for them in this author. Our approach to the matter focuses on two technical languages, viz. medical and rhetorical. Methodologically, the main attention must be paid to the philological analysis of the textual evidence, always by means of the contrast of the attested linguistic data related to different sociolects. We also suggest that this analysis (...) must not be limited to the lexical level, as if technical languages were only determined by a special word selection. In both technical languages, medical and rhetorical, the Aristophanic comedies show a conscious borrowing and use of several terms and structures whose specialized function can be proved by texts from the Hippocratic corpus, Antiphon and the Athenian contemporary Kanzleisprache. (shrink)

Este trabajo se propone demostrar que el personaje de Demóstenes cumple un papel central dentro de la estrategia persuasiva de la pieza, que intenta degradar la imagen pública de Cleón. En las obras tempranas, el héroe cómico suele ser el principal portavoz de la postura defendida en la obra; sin embargo, en Caballeros la imagen del héroe, el Morcillero, resulta al principio tan devaluada que debilita la fuerza argumentativa del ataque; en este sentido, Demóstenes actúa como un héroe provisorio y (...) un portavoz autorizado del enunciador-autor hasta que el Morcillero alcanza legitimidad y verdadera estatura heroica. This paper aims to demonstrate that the character of Demosthenes plays a central role in the persuasive strategy of the piece, which attempts to degrade the public image of Cleon. In the early works, the comic hero is usually the main spokesperson who defends the position maintained in the work; however, the image of the hero in Knights, the Sausage-Seller, is so devaluated at first that the argumentative force of the attack becomes weak; in this sense, Demosthenes acts as a provisional hero and authorized spokesman for the enunciatorauthor until the Sausage-Seller reaches more legitimacy and true heroic stature. (shrink)