Hemeroteca

Cuadernos de Filología Clásica
Número 7 (1997)
Leyenda
Artículo alojado en InterClassica = Artículo alojado en InterClassica
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Cuadernos de Filología Clásica
Artículo Páginas

José L. Lasso de la Vega: Evocación en el recuerdo (In memoriam)

Gil Fernández, Luis

9-11

Es difícil ser sólo helenista en España: en el fallecimiento del Profesor Lasso de la Vega

Martínez Hernández, Marcos

13-17

Publicaciones del Profesor D. José S. Lasso de la Vega

19-28

La risa y lo cómico en el pensamiento antiguo

Gil Fernández, Luis

Evidence's analysis shows that ancient physicians and philosophers (Hippocr., Arist., Plat.), as well as orators and rhetoricians (Cic., Quint., Dom. Afer, Diomed., Demetr., Dionysiad., Hermogen., Anonymi, De comoed., Tractatus Coislin.) recognized in verbal and situational humour the intelectual, emotional and social components revealed by modern thought.

29-54

División escénica de las Aves

Rodríguez Alfageme, Ignacio

This paper studies the scenic pattern of Birds as a way to stablish the function of comedy's litterary parts. Prolog appears to be the dramatic basis and Parabasis the symetric axis of comedy.

55-70

El juramento de los Misterios de Andania: comentario lingüístico

López Salvá, Mercedes

The text of the inscription of the Rule of the Andanian Mysteries will be analyzed in this paper as a contribution to the knowledge of the messenian dialect and in order to determine to what degree dialect and koiné were interrelated in the first century b. C. in this geographic area.

71-104

Las defixiones oscas: composición, interpretación, tipología

Álvarez-Pedrosa Núñez, Juan Antonio

Going on with an interesting methodological line which studies the linguistic monuments of the Restsprachen from a typological perspetive in order to its better comprehension, the author analizes the corpus of the Oscan defixiones. He adduces some new interpretative contributions concerning to its composition; he comments some literary aspects, and also some graphical and phonetic features, where he finds the reflection of the search of an «antinorm», that can be explained appealing to the genre of inscriptions.

105-120

Notas sobre el topónimo Αργουρα

Barrio Vega, María Luisa del

This article deals with the relation between the Euboean toponym Ἄργουρα and the Thessalian Ἀργοῦσσα. After examining Knoepfler's hypothesis that Euboean Ἄργουρα is derived from Thessalian Ἀργοῦσσα, the author proposes some other possible explanations.

121-134

Logos, mito y discurso probable (en torno a la escritura del Timeo de Platón)

Racionero, Quintín

The debate on the type of discourse containe in the Timaeus has traditionally been centered on the scientific status of its theses, overlooking its presentation by Plato as a "mythos eikos". By analyzing the epistemological value assigned to rhetoric throughout several dialogue a new characterization of rhetoric in Plato emerges that illumines the epistemological and political value of the Timaeus, understood as a "probable myth".

135-156

La voce dell' attore - Teorie e tecniche (II parte)

Rispoli, Gioia Maria

157-170

Algunos problemas de morfología del jonio: relaciones interparadigmáticas en la flexión nominal

Hualde Pascual, Pilar

Epigraphical Ionic texts show frecuently several endings for the same case in the same declension. Analogical influence among paradigms causes displacements from one to other flexion that alows us to clarify some dif'ficult points in nominal flexion of the Ionic dialect.

171-184

El oráculo de Agamenón en la propaganda atálida

Pérez Ruiz, Ángel

Study of an epigraphical oracle in its historical context (the relations of the Attalid kingdom with Delphi, with the ruler cult and with the orphism) to clarify a Dionysiac epithet: the proposal is Λυσίδιος.

185-194

El léxico y el tema del amor en Las Traquinias de Sófocles

Douterelo, Esther

Between the seven extant plays of Sophocles The Trachiniae is the only one in which the loving-erotic theme performs an important rôle in the dramatic action of the play. This paper is a study about the main lexical families for «love » in this play (ἐρ-, ἱμερ- and ποθ-, which express «love» as «desire» between persons, and φιλ- and στεργ-, which establish a transitive relation and indicate «love» in a wide meaning, love as philia ). Afterwards, the different loving motives and topics that the play shows are reviewed.

195-206

Marca de dativo y competencia acusativo / dativo en predicaciones bivalentes y experimentales en griego antiguo

Díaz de Cerio Díez, Mercedes

This paper deals with the A/D-markers alternation to code second arguments in Ancient Greek; the alternation is surveyed through a contrastive analysis of material and experiential bivalent predications, which aims at (i) specifying the scope of the alternation, (ii) fixing the prototypes of both N-A- and N-D-predications, and (iii) exploring an eventual association of a semantic difference to each marker. A specific association of a semantic difference (which had not been specified so far) to each marker is actually concluded, so that both a specific semantic function grammaticalized through the D marker, and a specific kind of predication, characterized through the presence of that semantic function, are to be posed, for which the labels of "Affected", and "Affection predications" are proposed.

207-242

Nueva descripción funcional de los eolocoriambos de Alceo y Safo

Laguna Ortiz, Ana María

In this study I intend to redefine the aeolo-choriambics of Sappho and Alcaeus at the level of structure ("Vers") as opposite to realization ("Vortrag"), applying the redefinition of the Greek stichic verses by Elsa García Novo, who reduces the elementa of Maas to two types of structural "components": a "monosyllabic component" (M), implemented by a single syllable, and a "potentially dissyllabic component" (D), implemented either by one long syllable or two shorts. This way, in my analysis I attempt to demonstrate that: *at the level of structure, the aeolo-choriambics of Sappho and Alcaeus can be described as organized series of three types of monosyllabic components: a fixed-short monosyllable (M˘), always implemented by a short syllable, a fixed-long monosyllable (Mˉ), always implemented by a long syllable, and a monosyllable of unfixed quantity (Mˉ/˘), implemented either by one long syllable or one short; *these components get organized within the series in the rhythmic chunks –vv- (the rhythmic peculiarity of the series), -v- and ---; *all the series have to end in a long monosyllable, a component that structurally permits a long, but not a short syllable to happen (brevis in longo, a hard-mark of period-end); *the main caesuras don't happen after the same type of component that ends the serie, to prevent a misperception of the rhythm. In my description I have considered the elements at the level of structure as well as the rhythm and the composition of cola and periods, in order to establish a comparison between the way the Aeolic poets compose and the Greek art as a whole.

243-262

La temática homérica en la poesía gallega

Lillo Redonet, Fernando

In this paper we study the use of homeric topics in galician poetry. By an anthology of poems we prove that Homer and his characters are included in the personal poetry of each poet.

263-286

Orfeo músico

Molina Moreno, Francisco

In this paper, we try a synthesis of what we know from ancient Greek literary sources about Orpheus the musician. We also establish some links between the myth and Greek cultural history. First of all, we examine the technical devices of Orpheus' art (the lyre, the song, also the language itself). References to the power of speech make us remember the important phenomenon of the approach between the poet-musician's figure and the sophist's one: both of them embodied the educator's function, in successive stages of Greek history. Thereafter, we deal about the relationship of Orpheus' music with non - human nature, with human society and with the gods. All powers of his music belong to a magical-animistic view of the universe: Orpheus is capable to listen to the universe (there are some pieces of evidence about his learning of music from birds or of astrology from the harmony of the spheres as he reproduced it with his lyre). So, he can also charm and order the world and the gods, as well as some of them are but embodiments of elements of nature; about Hades and Persephone, a relation with orphic rituals is suggested. And he is capable to transmit that knowledge, by means of music, to human beings, and we discuss ancient evidence of allegoristic interpretation of Orpheus charming the wild beasts -a metaphor for civilizing the mankind. Finally, legends about the survival of Orpheus' art are examined: they are coherent with the character of Orpheus as a transgressing and civilizing hero.

287-308

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