This contribution provides a study of the fabula Atellana from an epigraphic perspective. It brings together the existing inscriptions related to this dramatic genre, explaining the challenges that one faces when trying to identify possible Atellana actors. It also examines the status of Atellana performers and playwrights, contrasting the information provided by literary sources, especially Livy, with the data obtained from inscriptions, which indicate an increasing professionalization of Atellana actors in the first century a.d. Finally, (...) this article poses some questions concerning the development, continuity and geographical diffusion of Atellan comedy in the Imperial era in the light of the epigraphic material and also in comparison with the evidence available for other popular shows, specifically mime and pantomime, which suggests that by the second century a.d. the Atellana was no longer performed on public stages but was rather represented in private settings and studied for its linguistic and rhetorical peculiarities. (shrink)

O presente trabalho tem por objetivo analisar a fábula “O gavião e o rouxinol”, presente na obra de Hesíodo Os Trabalhos e os Dias, destacando a intenção didática e pedagógica presente na fábula, a preocupação com a conduta ética e moral dos indivíduos que faziam parte daquela sociedade arcaica e campesina, da qual o próprio Hesíodo pertencia e, principalmente, justificar a importância da fábula como propósito exortativo e educacional de Hesíodo ao chamar a atenção de seu irmão mais novo Perses, (...) dos reis e dos poderosos donos de terras para o perigo da desmedida, do excesso, a hýbris, que o poeta qualifica como algo maléfico para todos. Pois, para Hesíodo, o indivíduo só se tornaria ético e valoroso através do trabalho (érgon) árduo da terra, que para ele era o único meio de sobreviver dignamente dentro das leis da Justiça de Zeus, a Díke. (shrink)

The fabula praetexta is a category of Roman drama about which we are poorly informed. Ancient testimonia are scanty and widely scattered, while surviving fragments comprise fewer than fifty lines. Only five or six titles are firmly attested. Scholarly debate, however, has been extensive, and has especially focused on reconstructing the plots of the plays.1 The main approach has been to amplify extant fragments by fitting them into a plot taken from treatments of the same episode in later historical (...) sources such as Livy, Dionysius, or Plutarch.2 This method was extended by Mommsen and others in their efforts to identify new titles and plots by isolating passages in the historians which seem written in a dramatic style, and could therefore be interpreted as derivations from historical plays.3 Such a line of approach is both risky and subjective. It is based on the desire to recover a lost genre, which modern scholars feel must or should have existed. It is tempting to imagine that the Romans would have encouraged a thriving national theatre on historical themes. Such a genre, it is argued, would have been influential in shaping the average Roman's view of past events and the treatment of famous episodes by later historians.4 The conclusions reached have virtually no basis in the ancient sources we actually have. The result is largely a fiction created by the scholarly imagination. (shrink)

Este artículo estudia una corta narración en árabe muy conocida a través de diversas versions populares documentadas en manuscritos de diferentes orígenes (Siria, Egipto y Norte de África), comenzando en el siglo XVII. La narración describe cómo un peque.o gorrión queda atrapado en la trampa de un cazador y cómo, mediante todo tipo de estratagemas y usando su ingenio, logra escapar de su terrible destino. Si bien esta narración aparece frecuentemente en los círculos tardíos más populares, muchos de sus elementos (...) esenciales, se pueden rastrear en los escritos árabes medievales clásicos de los orígenes islámicos de Oriente y Occidente, en la mayoría de los casos como dos fábulas distintas. La historia de esta narración se mueve así entre la literatura clásica medieval y la popular premoderna. Incluso toca los márgenes de la historia de las Mil y una noches. En un artículo reciente se ha examinado un manuscrito datado en el siglo XVII que presenta toda la narración tal y como se encuentra con el ritmo y metro del dialect egipcio en el mawwāl. El presente estudio, basado en un manuscrito, analiza en cambio la adaptación de la narrative popular a la prosa. (shrink)

As fábulas de Fedro são surpreendentemente instigantes, ainda na atualidade, porque tratam de temas universais, focalizando questões que envolvem o próprio homem como um ser social. A análise de três fábulas fedrianas - Ouis, canis et lupus; Leo senex, aper, taurus et asinus; Vulpes et ciconia, mostrará de que modo o fabulista se serve das palavras para difundir ideias e defender princípios morais por meio de discursos que transmitem muito mais do que se depreende numa simples e desatenta leitura.

Em nosso artigo, propomos traduzir e analisar a fábula latina “A raposa e as uvas” do fabulista Fedro, da Roma, do I século. A partir da qual, teremos por intenção cotejar com as fábulas homônimas de Esopo, fabulista da Grécia antiga, de La Fontaine, fabulista francês, de Monteiro Lobato e de Millôr Fernandes. Nestes dois últimos autores da nossa literatura brasileira, temos a finalidade de destacar com os demais os pontos de contato e as diferenças estilísticas das fábulas homônimas. Analisados (...) alguns aspectos linguísticos e estilísticos, deter-nos-emos, enfim, aos aspectos moralizantes das fábulas e às maneiras pelas quais cada autor moraliza as suas fábulas, com suas semelhanças e diferenças. (shrink)

When Huxley quotes the famous Jefferson line in Brave New World Revisited—"If a nation expects to be ignorant and free... it expects what never was and never will be"2—there is something, on the face, humorously explicit to it. The state of civilization the brave new world is in seems to speak directly to this point. Brave new worlders are ignorant and conspicuously not free; they "[like] what [they've] got to do"3 because they have been decanted and conditioned by the corporate (...) government, the World State. This cursory assessment, however, obscures another possibility, one that touches on the satirical poignancy and relevance of. (shrink)

El autor fantasea una lectura de la ciencia nueva como gaya ciencia imaginando que su metaforología casi común responde al problema del nihilismo: introducir sentido en un mundo caracterizado por la ausencia de Dios.

Neptunus et Apollo dicuntur Troiam muro cinxisse; his rex Laomedon uouit quod regno suo pecoris eo anno natum esset immolaturum. id uotum auaritia fefellit. alii dicunt †parum eum promisisse. The story that Neptune and Apollo together built the walls of Troy for Laomedon is well known from Homer. At the end of their year's service the perfidious king refused to pay the agreed wages. Ovid tells the familiar story in one of his transitional sections in the Metamorphoses. Hyginus' account poses (...) the textual problem indicated above. H. I. Rose comments on ‘parum’ as follows: ‘procul dubio corruptum hoc neque arridet Schmidtii coniectura promsisse. fuitne partum equarum? hoc enim plerumque narratur, equos quos a Ioue accepisset promisisse Laomedontem mercedis nomine…sed Herculi; quod facile ad deos mercennarios transferri potuit; atque non equos sed equas fuisse tradit Apollod. II, 104’. Rose rightly rejects Schmidt's emendation ‘promsisse’. ‘Promisisse’ has every sign of soundness and the difficulty lies, as Rose sees, with ‘parum’. Rose's own conjecture ‘partum equarum’, however, will not do. Apart from the oddity of the expression, one would need a good deal more persuasion than Rose offers to accept that the well-known promise of Zeus' horses which Laomedon made to Hercules was transferred from Hercules to Neptune and Apollo. There is no suggestion anywhere in the sources that Laomedon promised to give Neptune and Apollo the famous horses as payment for building the walls. (shrink)

Neptunus et Apollo dicuntur Troiam muro cinxisse; his rex Laomedon uouit quod regno suo pecoris eo anno natum esset immolaturum. id uotum auaritia fefellit. alii dicunt †parum eum promisisse. The story that Neptune and Apollo together built the walls of Troy for Laomedon is well known from Homer. At the end of their year's service the perfidious king refused to pay the agreed wages. Ovid tells the familiar story in one of his transitional sections in the Metamorphoses. Hyginus' account poses (...) the textual problem indicated above. H. I. Rose comments on ‘parum’ as follows: ‘procul dubio corruptum hoc neque arridet Schmidtii coniectura promsisse. fuitne partum equarum? hoc enim plerumque narratur, equos quos a Ioue accepisset promisisse Laomedontem mercedis nomine…sed Herculi; quod facile ad deos mercennarios transferri potuit; atque non equos sed equas fuisse tradit Apollod. II, 104’. Rose rightly rejects Schmidt's emendation ‘promsisse’. ‘Promisisse’ has every sign of soundness and the difficulty lies, as Rose sees, with ‘parum’. Rose's own conjecture ‘partum equarum’, however, will not do. Apart from the oddity of the expression, one would need a good deal more persuasion than Rose offers to accept that the well-known promise of Zeus' horses which Laomedon made to Hercules was transferred from Hercules to Neptune and Apollo. There is no suggestion anywhere in the sources that Laomedon promised to give Neptune and Apollo the famous horses as payment for building the walls. (shrink)

Este ensayo se propone afrontar dos niveles de reflexión y cuestionamiento sobre la democracia procedimental y sobre los regímenes políticos en los que históricamente se han manifestado las “democracias avanzadas” occidentales. En un primer nivel se consideran las críticas sobre la mutación de la democracia procedimental y su transformación en una forma de oligarquía electiva, un régimen en el que acaba faltando la competición real entre elites distintas y distintas propuestas políticas. En un segundo nivel se pone en duda que (...) una restauración de la democracia procedimental, a partir de las propuestas de los grandes teóricos del siglo XX —Kelsen, Schumpeter, Popper, Bobbio, Ferrajoli— esté orientada y sea estructuralmente adecuada para afrontar con seriedad las “amenazas presentes”, pero en el fondo conocidas ya desde hace medio siglo (riesgo de una catástrofe ecológica, crecientes desigualdades planetarias, bulimia del mercado, terrorismo, etcétera). Amenazas que se agravan cada vez más tras la caída del muro de Berlín, y a las que todos estamos, aunque en distinta medida, expuestos. La respuesta de las democracias avanzadas a estas cuestiones ha estado marcada por el “desarrollo”, centrado en el modelo económico-político y científico-tecnológico occidental, que habría tenido que difundirse globalmente, con resultados contrarios a las expectativas, como quedó ya en evidencia en el informe Meadows, comisionado por el Club de Roma, y como siguen mostrando los estudios de autores como Jonas, Rist, Latouche. No sabiendo, o no pudiendo, mantener la promesa “ilustrada” de formar ciudadanos responsables y rindiéndose ante su infantilización por medio de las técnicas de marketing, como ha mostrado Barber, los regímenes democráticos que tenían su matriz teórica en la Ilustración parecen incapaces de generar en su interior ese “movimiento contrario” que podría despertar una conciencia, cuando menos difusa, de las amenazas globales que nos aguardan en el próximo futuro. (shrink)

This paper attempts to provide a defence for a narrative theory of the self in the face of criticisms from the anti‐narrative camp. It begins by addressing certain uncontroversial premises that both pro‐ and the anti‐narrative camps might be thought to agree on: the status of humans as homo significans or meaning‐makers, the natural form‐finding tendency and certain desiderata for significance and value that we possess, and the raw material of life and its constituents that we proceed from. Whereas the (...) pro‐narrative camp seeks to provide the narrative theory of the self as a valid argument for how we proceed from the raw material of life and undifferentiated experience and these desiderata and tendencies (i.e.: the premises) to a conception of both selfhood and moral responsibility (i.e.: the conclusion), the anti‐narrative camp holds the conclusion to be false and the narrative theory of the self to be invalid. The Parfitian view holds the conception of the self to be ultimately false, whereas the Strawsonian view holds both the conception of the self and the conception of moral responsibility to be ultimately false. The grounds they provide, however, tend to be metaphysical in nature, demonstrating that they have fundamentally misunderstood how the narrative theory of the self functions as a semantic thesis. I will demonstrate certain defects in the metaphysical arguments that anti‐narrativists like Parfit and Strawson have made against what is essentially a semantic thesis about how we make sense of our lives. I will also attempt to shore up the semantic thesis in other relevant aspects. (shrink)

En las siguientes páginas propongo partir de un amplio marco temporal, llamado aquí la época de la fábula del mundo, para reflexionar en torno al episodio intelectual específico que va de la publicación de la poesía cosmológica de Guillaume Salluste du Bartas a la de Le Monde ou le traité de la lumière de René Descartes. En primer lugar, enfatizaré los puntos de vista que, desde la perspectiva de la poesía cosmológica, conciben a la filosofía natural como una especulación que (...) finge un relato o fábula del mundo. En segundo lugar, señalaré las posturas críticas de Michel de Montaigne y de Francis Bacon a la imaginación filosófica por el afán que tiene de construir estos relatos ficticios del cosmos. En tercer lugar, caracterizaré los principios de la fábula cartesiana del mundo, identificando sus dimensiones epistémicas, físicas y metafísicas. Finalmente, consideraré las tensiones de los principios de Descartes que conllevan a la valoración de su filosofía natural como una teoría eminentemente especulativa. (shrink)

Examining a variety of texts ranging from the Ancient Near East to the nineteenth century, this book deals with the inevitable presence of both fact and fiction ...

En este ensayo me propongo estudiar cómo Óscar Liera, en su texto dramático Las fábulas perversas, echa mano de los recursos de la farsa para construir una visión profundamente crítica de un episodio relevante de la historia de México. El dramaturgo recrea la figura de Fray Servando Teresa de Mier y lo convierte, mediante los tonos de la risa, en un referente y un símbolo de libertad, que se opone a los abusos del poder al tiempo que desenmascara sus fábulas (...) perversas. (shrink)

Ego Sum proposes a provocative and unprecedented reading of Descartes. By paying attention to mode of presentation of Descartes's philosophy, Nancy challenges our common understanding of the Cogito and shows how Descartes's ego is not the self-certain, self-transparent Subject of metaphysics but a mouth that opens to utter: ego sum.

The role of imagination in Descartes. The critic of Sartre to the concept of image in Descartes.

A presente pesquisa tem como objeto a análise de algumas fábulas de Fedro sobre a prepotência, um dos costumes da sociedade na época do autor, que apresentam uma relação de assimetria entre os personagens. Julgamos que nas fábulas, veem-se refletidos os costumes corrompidos da vida humana, representados através das atitudes dos animais. Neste trabalho, serão feitos alguns comentários históricos, literários e estilísticos.

En el presente artículo se piensa la relación entre el golpe, los problemas de la re-presentación y la militarización neoliberal a través de varias imágenes, entre las que la del tanque de guerra será primordial para reflexionar acerca del origen violento del nuevo régimen económico y vital que se desplegó con el golpe. Lo anterior se enmarca desde el imaginario político de México en los años setenta, particularmente a través del régimen del presidente Luis Echeverría y su singular relación con (...) el elemento militar. La multiplicidad de miradas mexicanas sobre el golpe chileno está mediada por las imágenes. En esa miríada de elementos, existe un resto incontable, anónimo y excesivo: lo plebeyo. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 2017 Heft: 1 Seiten: 175-208.