POESÍA ÉPICA (Y COMPOSICIÓN LITERARIA) by Alicia Esteban Santos
Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos , 1982
Cuadernos de Filología Clásica: Estudios griegos e indoeuropeos, 1991
«Batrachomyomachia» is a noticeably triadic poem, both in its structure and its contents.
Its co... more «Batrachomyomachia» is a noticeably triadic poem, both in its structure and its contents.
Its composition proves so. It consists of three very balanced parts, from which the central one —as well as the rest of it— shows a perfectly tripartite and proportioned structure.
Nevertheless this formal characteristic does not appear unfoundedly, but in, close
connection with its contents. On correlating each one of tbe three sections from the central part with the three groups of main characters, the importance of the third character, the god —apparently with aminor role in the plot— is underlined. Besides, the character,- of the god is overemphasized by means of such structural resources as "Ringkompositions", which contribute to highlight the two brief scenes where the immortal beings appear.
VERSIÓN SEMINARIO DE ICONOGRAFÍA CLÁSICA (UCM) DE: Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos, 1996
Through the analysis of some Greek Works from the different literary genres, we observe tendency ... more Through the analysis of some Greek Works from the different literary genres, we observe tendency towards the "architectural" and "geometric" structure of literary work, and, on the otrer hand, towards the linking of from to meaning. With regard to the form they show preference to tripartite and round structure (Ringkomposition), with the essential in the central part. And in relation to the content particular attention is paid to concepts like time, space, movement, reality, god, man, death,, love; concepts which usually appear interrrelated and establishing oppositions.
Ágora. Estudos Clássicos em Debate , 2015
In the Odyssey we find many contrasts involving several aspects between which correspondences can... more In the Odyssey we find many contrasts involving several aspects between which correspondences can be found: spaces, times, structure, theme, characters, behaviours. Two fundamental themes can be opposed: the journey of the hero, the husband, which triggers change and mobility, and the multiplicity of spaces through a diversity of characters in a fantasy world (changing past time; first half of the poem). Set against this background, we find the wife's waiting, which is inversely limited to a single permanent space, the household, and which takes place among real beings of daily life (continuous present time; second half).
GÉNERO (PERSONAJES FEMENINOS. ÉPICA Y TEATRO) by Alicia Esteban Santos
VERSIÓN SEMINARIO DE ICONOGRAFÍA CLÁSICA (UCM) DE: Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos, 2005
Tras hacer una catalogación de heroínas griegas en diferentes situaciones ya como víctimas pasiva... more Tras hacer una catalogación de heroínas griegas en diferentes situaciones ya como víctimas pasivas, ya como mujeres rebeldes y activas, este trabajo se centra en estas últimas, tomando como ejemplo a las más representativas: Medea y Clitemestra (y su hija Electra). Tratamos principalmente de su relación y su confrontación con el hombre (el esposo respectivo), cuya personalidad es más floja y negativa, y, en especial, de la comparación entre las historias de Medea y de Clitemestra, con analogías y sobre todo rasgos en oposición.
" Terrible Women (Heroines of Greek Mythology I) " After listing greek heroines in different positions either as passive victims or as rebel and active women, this paper focuses on the latter and takes the most representative of them –Medea and Clytemnestra (and her daugther Electra)-as an exemple. We talk about their relation and confrontation with the respective husband, whose personality is weaker and more negative than hers, and specially about the comparison between Medea's story andClytemnestràs, with analogies and mainly contrasts.
VERSIÓN SEMINARIO DE ICONOGRAFÍA CLÁSICA (UCM) DE: Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos, 2006
Este trabajo trata de las esposas más representativas de la Guerra de Troya (Helena, Andrómaca, C... more Este trabajo trata de las esposas más representativas de la Guerra de Troya (Helena, Andrómaca, Clitemestra y Penélope –célebres heroínas épicas y trágicas-y también Laodamía), atendiendo a su aspecto familiar y a la relación y confrontación con el esposo respectivo, y, en especial, a su función prototípica, porque ejemplifican casi todos los tipos posibles de esposas (con diferentes rasgos en paralelismo y en oposición entre ellas) y de sus conductas en la situación extrema de una guerra. Y, además, ellas representan la suma y compendio de todos los horrores que conlleva la guerra, siendo la Guerra de Troya la GUERRA prototípica por siempre jamás.
This paper deals with the most representative wives in the Trojan War (Helen, Andromache, Clytemnestra and Penelope –famous epic and tragic heroines-and also Laodamia), focussing on the family aspect and their relationship and confrontation with the respective husband, and especially on their prototypical function, because they exemplify almost all possible patterns of wives (with different analogies and oppositions between them) and behaviours in a critical situation during a war. They also represent the personification of all kind of horrors that a war brings, as the Trojan War is the prototypical WAR for ever and ever.
VERSIÓN SEMINARIO DE ICONOGRAFÍA CLÁSICA (UCM) DE: Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos, 2007
Resumen: Este trabajo trata de nuevo de las mujeres troyanas, pero ahora centrándose en el cambio... more Resumen: Este trabajo trata de nuevo de las mujeres troyanas, pero ahora centrándose en el cambio esencial en su status social y personal, porque todas ellas-incluso la reina y las princesas-pasaron a ser esclavas y concubinas de hombres que mataron a su familia y destruyeron su ciudad. Hablamos sobre Briseida, Criseida, Tecmesa, Hécuba, Políxena, Casandra y Andrómaca, y también de Hesíone, y podemos observar analogías y asimismo oposiciones relevantes entre ellas, especialmente en lo que respecta a su actitud, sumisa o rebelde.
Abstract: This paper deals again with the Trojan women, but now focussing on their essencial change of social and personal status, because all of them –even the queen and the princess-became slaves, and concubines of men who had killed their family and destroyed their city. We talk about Briseis, Chryseis, Tecmessa, Hecuba, Polyxena, Andromache and Cassandra –and also about Hesione-and we can see important analogies and oppositions between them, especially with regards to their respective attitude, submissive or rebel.
VERSIÓN SEMINARIO DE ICONOGRAFÍA CLÁSICA (UCM) DE: Cuadernos de Filologia Clasica. Estudios Griegos e Indoeuropeos, Apr 16, 2008
El propósito de este trabajo es examinar algunos personajes femeninos cuyo rasgo distintivo y ese... more El propósito de este trabajo es examinar algunos personajes femeninos cuyo rasgo distintivo y esencial es una intensa pena, causada por un sentimiento también intenso. Este sufrimiento se revela muy marcadamente –y de manera muy similar– por medio tanto de los testimonios literarios como de los iconográficos, que plasman sus continuas –reiteradas– expresiones de aflicción «pasiva» o de dolor patético y «activo», y muestran además importantes analogías entre ellas. Estas mujeres dolientes son famosas heroínas épicas y trágicas, y también algunas diosas: Penélope, Fedra (esposas enamoradas), Electra, Casandra (hijas y hermanas afectuosas), Andrómaca, Hécuba, Níobe (madres humanas amorosas), Deméter, Tetis, Eos (madres divinas amorosas).
The aim of this essay is to examine some feminine characters whose distinctive and essential feature is an intense grief, caused by an also intense feeling. That sorrow is very strongly –and very similarly– revealed both through literary and iconography evidences, that represent their continual –repeated– expressions of «passive» affliction or pathetic and «active» grief, and show besides important analogies between them. These suffering women are famous epic and tragic heroines, and also some goddesses: Penelope and Phaidra (wives in love), Electra and Cassandra (affectionate daughters and sisters), Andromache, Hecuba and Niobe (human loving mothers), Demeter, Thetis and Eos (divine loving mothers).
Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos , 2015
En base a sendas tragedias de Esquilo, Sófocles y Eurípides (Agamenón, Traquinias y Medea respect... more En base a sendas tragedias de Esquilo, Sófocles y Eurípides (Agamenón, Traquinias y Medea respectivamente) vamos a confrontar las fi guras de Clitemestra, Deyanira y Medea. Entre ellas hay importantes puntos en común: las tres son esposas abandonadas, sustituidas por otra mujer más joven, y padecen celos y humillación por ello. Las tres son víctimas de grave injusticia de parte del esposo y han sufrido un inmenso dolor por culpa de él. Ante esto no permanecen pasivas, y con su actuación ocasionan el mayor daño a sus esposos respectivos, siendo ejecutoras de muerte atroz. Pero existen asimismo grandes contrastes entre unas y otras, que llevan a la conclusión de que la Deyanira de Sófocles ha sido moldeada en antítesis a la Clitemestra de Esquilo y probablemente también a la Medea de Eurípides, lo que viene apoyado por los numerosos rasgos característicos de Eurípides (no solo de Medea sino también de otras tragedias) que se encuentran en Traquinias.
Based on tragedies of Aeschylus, Sophocles and Euripides (Agamemnon, Trachiniae and Medea respectively), we are going to confront the fi gures of Clytemnestra, Deianeira and Medea. Among them there are important analogies: all three are abandoned wives, replaced by a younger woman, and suffer jealousy and humiliation for it. All three are victims of serious injustice from their husband and suffered an immense pain because of him. Consequently, they do not remain passive, and with their action they cause the most damage to their respective husbands, being executors of horrible death. But there are also great oppositions among them, leading to the conclusion that Sophocles' Deianeira has been shaped in antithesis to Aeschylus' Clytemnestra and probably also to Euripides' Medea. That is supported by the many characteristic features of Euripides (not only from Medea but also from other tragedies) that are found in Trachiniae.
EURÍPIDES (TRAGEDIA Y PERSONAJES FEMENINOS) by Alicia Esteban Santos
M. I. Rodríguez Alfageme & E. García Novo, Dramaturgia y puesta en escena en el teatro griego. Drammaturgia e messa in scena nel teatro greco , 1998
Minerva. revista de Filología Clásica, 2014
En la Medea de Eurípides se aprecia una fuerte in-clinación por la estructura en tríadas, así com... more En la Medea de Eurípides se aprecia una fuerte in-clinación por la estructura en tríadas, así como en simetría axial, tanto en la totalidad de la obra como en las partes individuales. La tragedia se puede dividir en tres partes a su vez trimembres, cuya distribución se relaciona estrechamente con el contenido: la primera (prólogo + párodo + episodio primero) presenta los preliminares o causas; la segunda (episodio segundo + episodio tercero ―central― + episodio cuarto, flanquea-dos por los correspondientes estásimos primero, segundo, tercero y cuarto) desarrolla la trama hacia el desenlace; la tercera (episodio quinto + último estásimo + éxodo) presenta ya las conse-cuencias, el desenlace. El elemento central (epi-sodio tercero) de la parte segunda es el núcleo composicional y temático, pues ahí se sitúa la μεταβολὴ τῆς τύχης, y coincide además con el centro numérico. Entre los dos elementos (epi-sodios segundo y cuarto) que lo enmarcan es evidente el paralelismo, de modo que la parte central muestra simetría axial. Entre las partes extremas (primera y tercera) existe asimismo simetría axial y correspondencia.
Euripides' tragedy Medea shows a strong tendency to structure the whole work and the individual parts in triads as well as in axial symmetry. The whole play can be divided into three parts, each one also tripartite, whose distribution is closely related to the content: Part I (prologue + parodos + episode 1) presents the preliminaries or causes; Part II (episode 2 + episode 3 ―centre― + episode 4, flanked by the correspondent stasima 1, 2, 3 and 4) is developing the plot towards the conclusion; Part III (episode 5 + last stasimon + exodos) already presents the consequences, the conclusion. The central element (episode 3) of part II is not only the compositional but also the thematic core, since the μεταβολὴ τῆς τύχης is located there. Besides, it is the numerical epicentre of the play. The parallel-ism between the two elements (episodes 2 and 4) that frame the central part is evident, and thereby the central part shows axial symmetry. There is also axial symmetry and correspondence between the extreme parts (I and III).
Argos, revista de la Asociación Argentina de Estudios Clásicos (AADEC), 2014
Medea de Eurípides es una tragedia excepcional no solo en el
contenido sino también en el aspecto... more Medea de Eurípides es una tragedia excepcional no solo en el
contenido sino también en el aspecto formal, tanto en lo que
respecta a la obra en su totalidad como en las partes individuales.
De entre estas sobresale el prólogo, elemento perfectamente
integrado y en armonía con el todo, a la vez que en sí mismo resulta
una pieza “perfecta” y muy rica en todo tipo de cuestiones: con una
composición sumamente esmerada y plena de contenidos, desde
distintas perspectivas: mítica, psicológica, social, de vida cotidiana,
caracterización de personajes.
Euripides' Medea is an exceptional tragedy, not only its content but
also its formal aspect, both in regard to the whole play and the
individual parts. Among these, the prologue stands out, which is an
element that is perfectly integrated and in harmony with the whole,
while by itself it is a "perfect" piece and very rich in all kinds of
issues: with an extremely careful composition and full of content
from different perspectives: mythical, psychological, social, daily
life, characters and their portrayals.
e-journal: Electra, 2014
Heracles es el héroe por antonomasia, el más grande y glorioso: salvador, civilizador, matador de... more Heracles es el héroe por antonomasia, el más grande y glorioso: salvador, civilizador, matador de monstruos perniciosos y brazo derecho de los propios dioses en su lucha contra las fuerzas oscuras y primitivas que amenazan el equilibrio del universo. Pero ahora nos centraremos en su faceta más íntima, que poca relación guarda (y poca coherencia) con sus aspectos más excelsos: en Heracles como enamorado. Sus historias de amor son numerosas, casi en proporción a las hazañas ilustres; así que nos vamos a limitar a las más relevantes y que, además, están transmitidas en importantes obras literarias clásicas, lo que nos permitirá también poder examinar tales textos.
MITOLOGÍA E ICONOGRAFÍA by Alicia Esteban Santos
Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos , 2002
Este artículo trata de Eos, la Aurora, y de otros personajes relacionados con ella (unos por seme... more Este artículo trata de Eos, la Aurora, y de otros personajes relacionados con ella (unos por semejanza y paralelismo y otros por oposición), que son examinados tanto a través de los testimonios literarios como de los iconográficos, cuyas impor-tantes coincidencias quedan patentes. En Eos distinguimos muy diferentes facetas: como divinidad astral, cósmica, como eterna enamorada y raptora y como mater dolorosa. En todas muestra su perso-nalidad intensa, sus poderes y características especiales, en analogía a otras diosas también de dotes extraordinarias, y todas ellas con significativos puntos de contacto con la Gran Diosa oriental. Por otra parte, apreciamos aquí un rasgo muy relevante asimismo en otros muchos aspectos dentro del mundo griego: el marcado gusto por las antítesis, destacando la oposición mortal / inmortal.
This paper deals with Eos, the Dawn, and other characters connected with her (some from resemblance and paralelism and some from opposition), that are examined both through literary and iconography evidences, whose important agreements are clear. In Eos we distinguish very different facets: as astral, cosmic divinity, as everlasting lover and abductor and as sorrowful mother. In every facet she shows her inten-ce personality, her special powers and characteristics on the analogy of other goddesses with extraordinary gifts also, and all of them with significant points of contact with the oriental Great Goddess. On the other hand, we perceive here a very outstanding characteristic of many other questions in the Greek world: the marked liking for the antithesis, specially the opposition mortal / inmortal.
E-Excelence Liceus. Biblioteca de recursos electrónicos de Humanidades. Historia del Arte-Iconografía. , 2007
Los griegos concebían el amor como una especie de enfermedad, de locura u ofuscación que proviene... more Los griegos concebían el amor como una especie de enfermedad, de locura u ofuscación que proviene de fuerzas superiores, ajenas a la propia voluntad, a la que la víctima no puede sustraerse. Es un poder ejercido por los dioses del amor, Afrodita y Eros, sobre todos los otros seres (dioses, hombres y animales), a los que manejan a su antojo. Estos dioses son los que provocan la pasión amorosa, esa "herida en el corazón" (literalmente, porque suele describirse como originada por las flechas que disparan). Pero tal es la fuerza que generan que incluso ellos mismos la reciben sobre sí y se ven envueltos en su propia trampa. De modo que también Afrodita y Eros protagonizan historias de amor, y -como todos- derraman a veces lágrimas amargas. Se hablará en una primera parte sucintamente de estos dioses: su nacimiento, sus principales atributos y características, su iconografía, así como de algunas de sus apariciones más importantes en la literatura griega, y se narrarán sus historias (de amor principalmente) más relevantes. En una segunda parte se referirán, de entre los numerosísimos relatos de enamorados, aquéllos en los que el papel de estos dioses es especialmente significativo y explícito en las fuentes literarias griegas: el de Helena y Paris, el de Fedra e Hipólito y el de Medea y Jasón.
LIBROS DHYANA ARTE ICONOGRAFÍA GRIEGA by Alicia Esteban Santos
Dhyana Arte , 2010
Las imágenes nos muestran los sucesos con la mayor viveza, y, por otra parte, son en numerosas oc... more Las imágenes nos muestran los sucesos con la mayor viveza, y, por otra parte, son en numerosas ocasiones el reflejo fiel de la descripción literaria. De un tema tan fascinante como el de la guerra de Troya, tan rico y variado en contenido, existen multitud de imágenes que plasman los distintos episodios. Nada más sugerente que hacerlas pasar ante nuestros ojos para lograr ver e imaginar en su contexto y ambientación completa todo ese complejo y sorprendente conjunto de mitos, que así cobran para nosotros auténtica vida. Acompañan comentarios sustanciosos a las imágenes, con la explicación de los mitos correspondientes y relación de las principales fuentes literarias griegas, de las que se presentan algunos pasajes relevantes. En éste -el primero de una colección de libros de iconografía griega- se abordan los episodios que preceden a la guerra de Troya, ya muy atractivos y variados por sí mismos, y aún más si se consideran muchos de ellos como fundamentos del terrible conflicto que está por venir.
Dhyana Arte, 2011
El extraordinario proceso de la formación del mundo y de los dioses que, en principio, lo personi... more El extraordinario proceso de la formación del mundo y de los dioses que, en principio, lo personifican como elementos y fuerzas de la naturaleza, culminó -tras generaciones- con el nacimiento de los llamados olímpicos. ¡Los grandes dioses! Los principales descendientes de Gea y Urano, la pareja primigenia. Éstos, antropomórficos y bellos, se han impuesto a los que les precedieron -seres monstruosos- y representan, en contraste a ellos, el orden en un Universo ya organizado y jerarquizado. Es gracias a Zeus fundamentalmente, que lograron la victoria frente a los terribles Titanes y el espantoso monstruo Tifón. En torno al gran Zeus y bajo su autoridad suprema, los demás olímpicos (hermanos e hijos de Zeus), concebidos como una gran familia, rigen el mundo y la vida de todos los seres, cada uno con sus diferentes atribuciones y funciones. Seis hermanos, los hijos de Crono y Rea, son los de la primera generación: Hestia, personificación del hogar; Deméter, diosa del cultivo de la tierra; Hera, esposa de Zeus, protectora del matrimonio; Hades, soberano del mundo infernal de los muertos; Posidón, rey del mar, de las aguas subterráneas y de los terremotos; Zeus, dios del cielo, del trueno y del rayo. Hijos de Zeus son los de la segunda generación: Atenea, diosa guerrera, protectora de las artesanías, las artes y la sabiduría; Apolo, dios arquero, músico, profeta y médico; Ártemis, arquera, cazadora y virgen a ultranza; Afrodita, diosa del amor y del sexo; Hermes, dios mensajero y guía; Ares, sanguinario dios de la guerra; Hefesto, habilidosísimo herrero y artesano; Dioniso, dios del cultivo de la vid y del vino. De todos ellos nos narra la autora, con su amenidad y precisión características, lo esencial de sus valiosos mitos, fielmente documentados en base a los más antiguos y prestigiosos textos literarios, de los que ofrece abundantes testimonios. Y a través de magníficas imágenes de los dioses, a todo color, nos muestra cómo los antiguos los imaginaban, los recreaban en sus pinturas, en sus decoraciones, dando cuenta tanto de su personalidad, como de su historia en los episodios más representativos e impactantes.
MITOLOGÍA Y TRADICIÓN CLÁSICA by Alicia Esteban Santos
Mitos En La Literatura Griega Helenistica E Imperial 2004 Isbn 84 7882 541 X Pags 491 516, 2004
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POESÍA ÉPICA (Y COMPOSICIÓN LITERARIA) by Alicia Esteban Santos
Its composition proves so. It consists of three very balanced parts, from which the central one —as well as the rest of it— shows a perfectly tripartite and proportioned structure.
Nevertheless this formal characteristic does not appear unfoundedly, but in, close
connection with its contents. On correlating each one of tbe three sections from the central part with the three groups of main characters, the importance of the third character, the god —apparently with aminor role in the plot— is underlined. Besides, the character,- of the god is overemphasized by means of such structural resources as "Ringkompositions", which contribute to highlight the two brief scenes where the immortal beings appear.
GÉNERO (PERSONAJES FEMENINOS. ÉPICA Y TEATRO) by Alicia Esteban Santos
" Terrible Women (Heroines of Greek Mythology I) " After listing greek heroines in different positions either as passive victims or as rebel and active women, this paper focuses on the latter and takes the most representative of them –Medea and Clytemnestra (and her daugther Electra)-as an exemple. We talk about their relation and confrontation with the respective husband, whose personality is weaker and more negative than hers, and specially about the comparison between Medea's story andClytemnestràs, with analogies and mainly contrasts.
This paper deals with the most representative wives in the Trojan War (Helen, Andromache, Clytemnestra and Penelope –famous epic and tragic heroines-and also Laodamia), focussing on the family aspect and their relationship and confrontation with the respective husband, and especially on their prototypical function, because they exemplify almost all possible patterns of wives (with different analogies and oppositions between them) and behaviours in a critical situation during a war. They also represent the personification of all kind of horrors that a war brings, as the Trojan War is the prototypical WAR for ever and ever.
Abstract: This paper deals again with the Trojan women, but now focussing on their essencial change of social and personal status, because all of them –even the queen and the princess-became slaves, and concubines of men who had killed their family and destroyed their city. We talk about Briseis, Chryseis, Tecmessa, Hecuba, Polyxena, Andromache and Cassandra –and also about Hesione-and we can see important analogies and oppositions between them, especially with regards to their respective attitude, submissive or rebel.
The aim of this essay is to examine some feminine characters whose distinctive and essential feature is an intense grief, caused by an also intense feeling. That sorrow is very strongly –and very similarly– revealed both through literary and iconography evidences, that represent their continual –repeated– expressions of «passive» affliction or pathetic and «active» grief, and show besides important analogies between them. These suffering women are famous epic and tragic heroines, and also some goddesses: Penelope and Phaidra (wives in love), Electra and Cassandra (affectionate daughters and sisters), Andromache, Hecuba and Niobe (human loving mothers), Demeter, Thetis and Eos (divine loving mothers).
Based on tragedies of Aeschylus, Sophocles and Euripides (Agamemnon, Trachiniae and Medea respectively), we are going to confront the fi gures of Clytemnestra, Deianeira and Medea. Among them there are important analogies: all three are abandoned wives, replaced by a younger woman, and suffer jealousy and humiliation for it. All three are victims of serious injustice from their husband and suffered an immense pain because of him. Consequently, they do not remain passive, and with their action they cause the most damage to their respective husbands, being executors of horrible death. But there are also great oppositions among them, leading to the conclusion that Sophocles' Deianeira has been shaped in antithesis to Aeschylus' Clytemnestra and probably also to Euripides' Medea. That is supported by the many characteristic features of Euripides (not only from Medea but also from other tragedies) that are found in Trachiniae.
EURÍPIDES (TRAGEDIA Y PERSONAJES FEMENINOS) by Alicia Esteban Santos
Euripides' tragedy Medea shows a strong tendency to structure the whole work and the individual parts in triads as well as in axial symmetry. The whole play can be divided into three parts, each one also tripartite, whose distribution is closely related to the content: Part I (prologue + parodos + episode 1) presents the preliminaries or causes; Part II (episode 2 + episode 3 ―centre― + episode 4, flanked by the correspondent stasima 1, 2, 3 and 4) is developing the plot towards the conclusion; Part III (episode 5 + last stasimon + exodos) already presents the consequences, the conclusion. The central element (episode 3) of part II is not only the compositional but also the thematic core, since the μεταβολὴ τῆς τύχης is located there. Besides, it is the numerical epicentre of the play. The parallel-ism between the two elements (episodes 2 and 4) that frame the central part is evident, and thereby the central part shows axial symmetry. There is also axial symmetry and correspondence between the extreme parts (I and III).
contenido sino también en el aspecto formal, tanto en lo que
respecta a la obra en su totalidad como en las partes individuales.
De entre estas sobresale el prólogo, elemento perfectamente
integrado y en armonía con el todo, a la vez que en sí mismo resulta
una pieza “perfecta” y muy rica en todo tipo de cuestiones: con una
composición sumamente esmerada y plena de contenidos, desde
distintas perspectivas: mítica, psicológica, social, de vida cotidiana,
caracterización de personajes.
Euripides' Medea is an exceptional tragedy, not only its content but
also its formal aspect, both in regard to the whole play and the
individual parts. Among these, the prologue stands out, which is an
element that is perfectly integrated and in harmony with the whole,
while by itself it is a "perfect" piece and very rich in all kinds of
issues: with an extremely careful composition and full of content
from different perspectives: mythical, psychological, social, daily
life, characters and their portrayals.
MITOLOGÍA E ICONOGRAFÍA by Alicia Esteban Santos
This paper deals with Eos, the Dawn, and other characters connected with her (some from resemblance and paralelism and some from opposition), that are examined both through literary and iconography evidences, whose important agreements are clear. In Eos we distinguish very different facets: as astral, cosmic divinity, as everlasting lover and abductor and as sorrowful mother. In every facet she shows her inten-ce personality, her special powers and characteristics on the analogy of other goddesses with extraordinary gifts also, and all of them with significant points of contact with the oriental Great Goddess. On the other hand, we perceive here a very outstanding characteristic of many other questions in the Greek world: the marked liking for the antithesis, specially the opposition mortal / inmortal.
LIBROS DHYANA ARTE ICONOGRAFÍA GRIEGA by Alicia Esteban Santos
MITOLOGÍA Y TRADICIÓN CLÁSICA by Alicia Esteban Santos
Its composition proves so. It consists of three very balanced parts, from which the central one —as well as the rest of it— shows a perfectly tripartite and proportioned structure.
Nevertheless this formal characteristic does not appear unfoundedly, but in, close
connection with its contents. On correlating each one of tbe three sections from the central part with the three groups of main characters, the importance of the third character, the god —apparently with aminor role in the plot— is underlined. Besides, the character,- of the god is overemphasized by means of such structural resources as "Ringkompositions", which contribute to highlight the two brief scenes where the immortal beings appear.
" Terrible Women (Heroines of Greek Mythology I) " After listing greek heroines in different positions either as passive victims or as rebel and active women, this paper focuses on the latter and takes the most representative of them –Medea and Clytemnestra (and her daugther Electra)-as an exemple. We talk about their relation and confrontation with the respective husband, whose personality is weaker and more negative than hers, and specially about the comparison between Medea's story andClytemnestràs, with analogies and mainly contrasts.
This paper deals with the most representative wives in the Trojan War (Helen, Andromache, Clytemnestra and Penelope –famous epic and tragic heroines-and also Laodamia), focussing on the family aspect and their relationship and confrontation with the respective husband, and especially on their prototypical function, because they exemplify almost all possible patterns of wives (with different analogies and oppositions between them) and behaviours in a critical situation during a war. They also represent the personification of all kind of horrors that a war brings, as the Trojan War is the prototypical WAR for ever and ever.
Abstract: This paper deals again with the Trojan women, but now focussing on their essencial change of social and personal status, because all of them –even the queen and the princess-became slaves, and concubines of men who had killed their family and destroyed their city. We talk about Briseis, Chryseis, Tecmessa, Hecuba, Polyxena, Andromache and Cassandra –and also about Hesione-and we can see important analogies and oppositions between them, especially with regards to their respective attitude, submissive or rebel.
The aim of this essay is to examine some feminine characters whose distinctive and essential feature is an intense grief, caused by an also intense feeling. That sorrow is very strongly –and very similarly– revealed both through literary and iconography evidences, that represent their continual –repeated– expressions of «passive» affliction or pathetic and «active» grief, and show besides important analogies between them. These suffering women are famous epic and tragic heroines, and also some goddesses: Penelope and Phaidra (wives in love), Electra and Cassandra (affectionate daughters and sisters), Andromache, Hecuba and Niobe (human loving mothers), Demeter, Thetis and Eos (divine loving mothers).
Based on tragedies of Aeschylus, Sophocles and Euripides (Agamemnon, Trachiniae and Medea respectively), we are going to confront the fi gures of Clytemnestra, Deianeira and Medea. Among them there are important analogies: all three are abandoned wives, replaced by a younger woman, and suffer jealousy and humiliation for it. All three are victims of serious injustice from their husband and suffered an immense pain because of him. Consequently, they do not remain passive, and with their action they cause the most damage to their respective husbands, being executors of horrible death. But there are also great oppositions among them, leading to the conclusion that Sophocles' Deianeira has been shaped in antithesis to Aeschylus' Clytemnestra and probably also to Euripides' Medea. That is supported by the many characteristic features of Euripides (not only from Medea but also from other tragedies) that are found in Trachiniae.
Euripides' tragedy Medea shows a strong tendency to structure the whole work and the individual parts in triads as well as in axial symmetry. The whole play can be divided into three parts, each one also tripartite, whose distribution is closely related to the content: Part I (prologue + parodos + episode 1) presents the preliminaries or causes; Part II (episode 2 + episode 3 ―centre― + episode 4, flanked by the correspondent stasima 1, 2, 3 and 4) is developing the plot towards the conclusion; Part III (episode 5 + last stasimon + exodos) already presents the consequences, the conclusion. The central element (episode 3) of part II is not only the compositional but also the thematic core, since the μεταβολὴ τῆς τύχης is located there. Besides, it is the numerical epicentre of the play. The parallel-ism between the two elements (episodes 2 and 4) that frame the central part is evident, and thereby the central part shows axial symmetry. There is also axial symmetry and correspondence between the extreme parts (I and III).
contenido sino también en el aspecto formal, tanto en lo que
respecta a la obra en su totalidad como en las partes individuales.
De entre estas sobresale el prólogo, elemento perfectamente
integrado y en armonía con el todo, a la vez que en sí mismo resulta
una pieza “perfecta” y muy rica en todo tipo de cuestiones: con una
composición sumamente esmerada y plena de contenidos, desde
distintas perspectivas: mítica, psicológica, social, de vida cotidiana,
caracterización de personajes.
Euripides' Medea is an exceptional tragedy, not only its content but
also its formal aspect, both in regard to the whole play and the
individual parts. Among these, the prologue stands out, which is an
element that is perfectly integrated and in harmony with the whole,
while by itself it is a "perfect" piece and very rich in all kinds of
issues: with an extremely careful composition and full of content
from different perspectives: mythical, psychological, social, daily
life, characters and their portrayals.
This paper deals with Eos, the Dawn, and other characters connected with her (some from resemblance and paralelism and some from opposition), that are examined both through literary and iconography evidences, whose important agreements are clear. In Eos we distinguish very different facets: as astral, cosmic divinity, as everlasting lover and abductor and as sorrowful mother. In every facet she shows her inten-ce personality, her special powers and characteristics on the analogy of other goddesses with extraordinary gifts also, and all of them with significant points of contact with the oriental Great Goddess. On the other hand, we perceive here a very outstanding characteristic of many other questions in the Greek world: the marked liking for the antithesis, specially the opposition mortal / inmortal.
Nevertheless, the most signifteant antithesis appears between the extreme passages (prologue and epilogue) and the central one (the second discourse of Socrates), with regard to the structure as well as to the meaning, and in every aspect: space, time, movement, characters and, specially, in the ontologic level. In fact, the sensitive world of the images and appearances is opposed to the intelligible world of the Reality, in the same way as exterior and interior, nature and man, body and soul are opposed.
una santa, Macrina, hermana de Gregorio de Nisa, que fue uno de los tres importantes
padres capadocios. Gregorio dio el protagonismo a su hermana en dos de
sus obras, de las que trataremos. Una es la Vida de Macrina, biográfica, una de las
primeras hagiografías cristianas, que nos presenta el retrato idealizado de la santa,
modelo de virtudes y de vida ascética ejemplar, maestra, fundadora de un Monasterio
en su propio hogar. La otra obra es el Dialogo sobre el alma y la resurrección,
considerada una de las más importantes del autor en la esfera de la escatología y de
la antropología. Es un tratado filosófico-teológico con gran influencia de Platón,
basado en el Fedón en particular, y en él Macrina es la interlocutora del propio
Gregorio, en papel análogo al de Sócrates en los diálogos platónicos o a la Diotima
del Banquete
Therefore, one would cexpect a stronger relationship between the second and the third group. But, on the contrary, the first and the second group are closer (structure, formulae, vocabulary, syntax and even themes and concepts in common). This induces us 10 consider that the second group of histories is rather a continuation of the first one and thai the tradicional division between books I and III could be better
changed and established after Ihis whole of clinical histories (first and second group). On the other hand, the third group, in which we appreciate significant divergences, could perhaps be attributed to another author.
We now complete the composition scheme of the clinical histories of Epidemics V and VII with the data relating to the disease: cause, symptoms (fever, pain, psychic upsets) and its initial indication, ups and downs, therapy, course of the time, outcome, reflections post mortem. Examining them separately in each one of the three groups of histories (the exclusive histories of Epid. V, those of Epid. VII and the «parallel histories»), we observe a stronger coincidence between parallel histories and the exclusive histories of Epid. V, which is in conformity with the results obtained in our previous studies.
In this essay we examine the different syntactical constructions used in the beginning of the clinical histories of Epidemics II, IV and VI to refer to the patient and to determine his identity: the case in which he is mentioned, the use of article in his designation, the employment of participle and relative, that are sometimes the only way of reference to the patient, and, on the other hand, the diverse syntactical constructions, more or less complex, which are used in his designation. The results in all these questions point in the same direction: a stronger connection between the books II and VI of Epidemics, in contrast to Epid. IV, which is shown in remarkable divergence.
Alicia Esteban y Mercedes Aguirre, una vez más nos deslumbran con su fantasía y capacidad de crear amenos relatos inspirados en los mitos griegos. Siro López los ilustra con su peculiar arte...
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