Ernest Marcos Hierro

Resumen: Este artículo examina las fuentes iconófilas sobre el primer iconoclasmo bizantino, en particular, la Cronografía de Teófanes el Confesor y la Vida de Esteban el Joven de Esteban el Diácono, y su presentación de la doctrina iconoclasta como una herejía extranjera de origen semítico, en concreto, judío y musulmán. También analiza la presentación de los emperadores iconoclastas como depravados y, en el caso del emperador Constantino V, como homosexual según las convenciones retóricas del vituperio. Palabras clave: Iconoclasmo bizantino. Vituperio de emperadores. Homosexualidad en Bizancio. Judeo-cristianismo. Résumé: Cet article examine les sources iconophiles concernant le premier iconoclasme byzantin, en particulier, la Chronographie de Théophane le Confesseur et la Vie de Étienne le Jeune par Étienne le Diacre, et sa présentation de la doctrine iconoclaste en tant qu'hé-résie étrangère d'origine sémitique, spécifiquement, juif et musulman. Il analyse également la présentation des empereurs iconoclastes en tant que dépravés et, dans le cas de l'empereur Constantin V, en tant qu'homosexuel selon les conventions rhétoriques de la vitupération. Abstract: This article examines the iconophile sources about the

Resumen — El historiador bizantino Nicetas Coniates ofrece en su Narración cronológica (principios del s. XIII) un retrato del emperador Andrónico I Comneno (1183-1185) caracterizado como un villano, en el que utiliza como figuras de referencia personajes de la mitología, la historia y la literatura antiguas (Odiseo, Heracles, Marco Antonio, Tiberio) y de la Biblia (Job, David). En esta comunicación se analizan los rasgos pro-pios del género del vituperio que presenta este texto y se advierte de la necesidad de tener siempre presente el aspecto literario de los textos historiográficos bizantinos a fin de no aceptar como hechos reales episodios ficticios. Abstract — In his Chronological Narration (beginning of the 13 th century), the Byz-antine historian Nicetas Coniates offers a portrait of Andronicus I Comnenus (1183-1185), where the Emperor is characterized as a villain. In that portrait, Nicetas uses figures of reference taken from mythology, history, and ancient literature (Odysseus, Heracles, Marcus Antonius, Tiberius), and from the Bible (Job, David). This paper analyses the typical features of the literary genre vituperatio, 'injuring', and warns of the need to always be aware of the literary character of historiographical Byzantine texts, advising against an automatic acceptance of fictitious events as true.

This paper examines the traces of dialogue with the work of the poet Giorgos Seferis (1900-
1971), especially the book Mythistorema, in the work of the Catalan poet Carles Miralles (1944-
2015), who studied and translated the Greek Nobel Prize. By way of example, the paper
analyses the presence of elements and motifs of Seferis’ poetry in the last book by Miralles, Tres
suites, which appeared posthumously in 2017.
KEYWORDS: Carles Miralles, Giorgos Seferis, Catalan contemporary poetry, modern Greek
poetry of the twentieth century, comparative literature.

RESUMEN El objeto de este texto es el análisis de los dos poemas inéditos («Lohengrin» y «La sospecha») de Konstandinos P. Kavafis dedicados a la ópera Lohengrin de Richard Wagner, escritos en 1898. Como en otros poemas de su etapa formativa, por ejemplo, «Segunda Odisea» y «El rey Claudio», Kavafis ofrece en estos textos una versión trasgresora del argumento de la ópera original: en el primer poema, Lohengrin no acude a socorrer a Elsa y, en el segundo, el campeón es derrotado por su enemigo Telramund. Al contrario que Elsa, la figura protagonista de los poemas de Kavafis es, por tanto, culpable del crimen de que se le acusa y no merece la salva-ción que sus sueños le prometían. Estos poemas conectan con textos de la obra posterior de Kavafis en los que se reivindica su condición marginal. ABSTRACT «The call of the herald: Lohengrin and Kavafis». The aim of this paper is to analyse two unedited poems of Konstandinos P. Kavafis («Lohengrin» and «The suspicion») which are dedicated to the opera Lohengrin by Richard Wagner and were written about 1898. Like other poems of his formative years such as «Second Odyssey» and «King Claudius», Kavafis offers in these two poems a transgressive version of the plot of the opera: in the first poem Lohengrin doesn't come to save Elsa and, in the second one, he is defeated by his enemy Telramund. Unlike Elsa, the protagonist of the poems is guilty of the crime of which he is accused and he doesn't deserve the salvation which his dreams promised him. These poems connect with other texts dated in the poet's maturity in which he claims his marginal status.

AbstrAct The aim of this paper is to analyse the process of writing Les roques i el mar, el blau by the Catalan poet Salvador Espriu. At the origin of the final work there was a collection of 52 texts written in 1976 to comment and to present 52 drawings about figures from the Greek and Latin tradition by the artist Cèsar Estrany. In these texts Espriu expresses ironically his dislike for the kind of representation by Estrany as well as for some mythical figures and stories. He also rewrites some myths (about Ganimedes, Danae, Orpheus) as an exercise of transgression, which is the seed for the series of the other 48 that complete the whole book in 1981. So became the former collection of texts a powerful mythological summa in which the author criticizes some received ideas on classical tradition and exposes his pessimistic vision of the world.

This article examines as a case of «mythopoiesis» the creative use of the myth of the abandonment of Ariadne in Naxos and her later union with the god Dionysus-Bacchus at the opera Ariadne auf Naxos by Hugo von Hofmannsthal and Richard Strauss. With the introduction of the character of Circe as the previous loving pretender for the young god, Hofmannsthal turns the «deus ex machina» of the original fable in the subject of a mutual process of love with Ariadne presented as an «allomatische Verwandlung», a reciprocal metamorphosis