Número 7 (2005)
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Alejandro de Eurípides: la configuración literaria de un motivo folklórico

Romero Mariscal, Lucía

The Alexandros of Euripides is a tragedy based on the motif of the child who was exposed at birth, as had been Sophocles’ Oidipus Rex or the legend of Cyrus told by Herodotus. This motif is intertwined in the tragedy with a  series of episodes — the athletic contest, the victory and crowning of the victor, the anagnorisis — which characterise Alexandros as a potential tyrannos and which display a drama of political consequences. In the historical context of the representation — 415 B.C. — it is possible to find some analogies between Alexandros and Alcibiades, the latter having won the Olympic games the year before, and appearing to be as handsome and powerful as the protagonist of the tragedy, though the substantial political meaning of the play (and trilogy) lies elsewhere: on the difficulty of the government of a city where participation becomes competition and where excellence poses a threat to the principle of equality and is at risk of distorting itself through unrestrained eros and lust.


Teseu: um homem prepotente e traído ou traído e desesperado?

Sousa, Ana Alexandra Alves de

The family drama experienced by Theseus, Phaedra and Hyppolytus sheds some light on human incapacity to control what appears to be man’s most intimate and absolute characteristic: emotions. In spite of Theseus’s undeniable power, which is further backed up and made stronger through his contact with the gods (the journey to Pluto’s kingdom, the fulfilment of his requests by the deities), the events he goes through at home bring him distress and perplexity. This awareness of power’s inanity achieves one of its most poignant expressions at the beginning of Act IV in Verdi’s opera Don Carlos .


“Tanto de meu estado me acho incerto”: contradições do amor, de Catulo a Ovídio

André, Carlos Ascenso

The most famous text in Latin literature exploring the paradoxes of love is Catullus’s celebrated Carmen 85 which opens precisely with the oxymoron Odi et amo. Nevertheless, the formulation of such antithetical view of love has gained a wider recognition among Rome’s poets. We could, for instance, recall Virgil’s Aeneid , where the passion between Dido and Aeneas, approaching its tragic zenith, makes both feelings overlap, or, better still, promotes an almost abrupt passage from one to the other. Propertius can, to some extent, be read in a similar way as regards his conflicting relationship with Cynthia. And Catullus himself doesn’t express his love affair with Lesbia in a different way. Ovid is nonetheless seldom referred as far as this subject is concerned. There’s a poem however that clearly follows Catullus’s model: the same emotional turmoil which Catullus magnificently voiced in Carmen 85 has also been expressed in an inspired manner by the Sulmonenis in elegy 3.11b from the Amores . In this poem, the everlasting strife between the two feelings, love and hate, is conveyed with remarkable power and intensity and the dialectical opposition between them virtually becomes an obsession unfolding in 20 lines. This article intends to illustrate the widespread reception of this theme in Latin poetry, thus foreshadowing its enduring fortune in the literature of all times.


Léxico y es tructura en Amores 2.7 y 2.8

Miguel Mora, Carlos de

Poems 7 and 8 from Book II of Ovid’s Amores appear to form an inseparable whole and have so been taken by Ovidian scholarship. However, studies pertaining to the relations between both texts and to the internal structure of each one of them have in general been limited to thematic approaches. In this article, we intend to re-examine their structure and relationship by focussing on Ovid’s use of vocabulary to craft such a complex and harmonious composition.


A arte médica em Roma antiga nos De Medicina de Celso

São Marcos Sousa, Maria Adriana

The extensive loss of the invaluable Alexandrian medical literature makes Celsus the closest, and ultimately the only, evidence in chronological terms of a period of intense scientific production in general and medical progress in particular. His greatest achievement isn’t however related to this circumstance, but rather to the unique content of these books. Suffice to say that to the remarkable Hippocratic and Alexandrian traditions, Celsus has added a substantial amount of Roman originality. The innovations pertain not only to his obvious use of Latin, but also to the sociological and cultural Roman features bearing witness of a thriving Italic popular medicine, skilfully intertwined with Greek medicine, thus turning his De Medicina libri VIII into an unparalleled testimony when it comes to the understanding of medical history in the ancient world.


El objeto y el modo aristotélicos: su repercusión en Los Amantes de Andrés Rey de Artieda

Solís Perales, Maria Dolores

In this article we carry out an in-depth study of all the sources which affect both legend and tragedy, subordinating them to the text offered by Rey de Artieda. We also provide a brief study aiming to show how important narration becomes in the text mentioned above.


Trimalquião, os coronéis e a piscina: retrato impiedoso de um país em crise

Mendes, António Manuel Gonçalves

In this article we attempt to read Mário de Carvalho's novel Fantasia para dois coronéis e uma piscina , focussing on the ideological analysis of representative passages with special emphasis on two recurrent processes used by the author: irony and parody. Taking into account all explicit references to Classical authors, works or themes, ranging from Horace to Petronius, and from the invokation of the muses to that of the deus ex machina, we seek to draw a parallel between the Classical past and the present, thus providing an accurate picture of the Portuguese society, with its vices and defects, on the verge of the 21st century.


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