Cuadernos de Filología Clásica
Número 9 (1999)
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Los peligros del mar: muerte y olvido en la Odisea

Aguirre de Castro, Mercedes

Two dangers are looming over Odysseus and his companions in their adventures on their return to Ithaka: death and forgetfulness. Death is irreparable; forgetfulness, although in principle desirable, can also be lethal. A hero, trapped in a supernatural world -like Odysseus in Calypso's or Circe's island-, forgets everything, home and family, is not conscious of time passing in the real world, and it is as if he were dead. Therefore, both themes converge in one idea only: death.


The Song of the Swallow

Martín Vázquez, Lourdes

How is it ascertained that the Song of the Swallow is Rhodian? In spite of the traditional classification, it is necessary to prove that the song kept dialectal traits. Since Rhodian is today more well-known, it has been possible to verify whether some phenomena appearing in the song (e.g. τυρῶ, πυρῶνα or -μες) were really Rhodian or not. Metric structure becomes more successful, if one applies the results of the Rhodian compensatory lengthening. At the same time, the Rhodian vowel system has been corroborated by this evidence. All these combined features allow us to establish three different dates in the composition of the song and to suggest new reading of the text.


La Nemea VIII en contexto: Hora y la aceptación o rechazo de las excelencias del individuo sobresaliente

Roig Lanzillotta, Lautaro

Taking as a starting point the development of Greek axiological system from Homeric times to the V century B. C., the author analyses the new communal estimation of personal areté and the negative consequences of its dissociation in ἔργον and λόγος. In this context, the pindaric conception of this dichotomy as diacritical between divine and mortal allotment and as determining factor in human failure vindicates the necessity of poetry to reduce the deficiency of human desire by helping the ἀγαθός to achieve his need of glory.


Lyrisme et drame, le choeur dans l' Antigone de Sophocle

Jouanna, Jacques

The aim of this paper is to show the double role of the chorus in Sophodes' Antigone, first in the spoken parts and in the anapests, then in the choral songs. In the non-lyrical parts the chorus' function is both 'dramaturgical' (he presents the dramatis personae ) and dramatic (more and more dramatic all along the tragedy, until he brings Creon to change his mind). In the lyrical parts, it seems more difficult to see a dramatic function of the chorus, for the author deliberately looks for a breaking effect at the beginning of the choral songs; however, there are many various links between lyrics and drama. The study of those links leads to stress the critical attitude of the chorus versus Antigone and its meaning for the interpretation of the tragedy.


Tragedia y códices legales: una nueva lectura de Antígona de Sófocles

Scabuzzo, Susana

Many are the elements of Sophodes Antigone which refer the 5th. century spectator to different legal practices. These practices sprout from the many stages in the judicial activity development, and are founded on law concepts, also different. The legal and lawful components are intertwined in the plot of the play as well as in the nature of its characters; Sophocles uses them and so he builds a complex frame where several strata of belief and behaviour are interwoven, encouraging thus his fellow citizens to consider law practice in town carefully.


A propósito de λυκόποδες / λευκόποδες (Ar., Lys., 665)

Rodríguez Alfageme, Ignacio

Semantic study, as well as connotations of both composita, favours the transmitted text λυκόποδες against λευκόποδες.



García Novo, Elsa

In a previous paper I suggested that βρεκεκὲξ κοὰξ κοάξ in Ar. Ra. and τοτοβρίξ, etc., in Av., ended in a guttural stop + /S/ in order to make perceptible the /k/, provided that the Greek language did not have an ending in a guttural stop. With the addition of an /S/, as in ἕξ, φύλαξ or ἔξ, the intended /k/ was safely preserved. Why is it then that τοφλαττοθρατ τοφλαττοθρατ (Ar. Ra. ) ends in a stop? It happens that the frogs' and the birds' song appear in their contexts followed by a vowel most of the times, so that the ending -/k/ always closed one metrical syllabe, while /S/ could belong to the following metrical syllable: VksV = Vk-sV (V=vowel). However τοφλαττοθρατ τοφλαττοθρατ appears in its contexts followed all the times by a consonant, so that the audience perceived a syllable ending in /t/: -at-CV.. (C=Consonant). Therefore the ending in a stop is always preserved.


Aristófanes, ¿enemigo de Sócrates?

Souto Delibes, Fernando

From some important inconsistencies inside Comedy itself, the author will try to demonstrate how Aristophanes did'nt know Socrates personally as he wrote the Cloud in 423 a.C. In fact, the different portrait of Socrates we find in the Bird and the Frogs could prove that the real Socrates was known by Aristophanes probably in a meeting similar to this described by Plato in his Symposium.


Un canto di risveglia nella commedia nuova. Nota al P.Oxy. 3966

Perusino, Franca
Giacomoni, Agnese

P. Oxy. 3966 has preserved a fragment of new comedy (sixteen iambic trimeters, may be Menander), which contains a lyric verse, perhaps the beginning of a wedding song performed during a λουτροφορία.


El ceremonial de la palabra imperativa: de los Evangelios al exorcismo cristiano

Gil Fernández, Luis

As Gn 1ss and Jn 1ss assert, God's commands are inmediately executed. With regard to his words Christ makes a statement (verba mea non praeteribunt, Mt 24,35, Mc 13,31, Lc 21,33) similar to Is 55,11. His commands are also accomplished at once. They are real commands, not exorcism (the term ἐξορκισμός is absent in NT, ἐξορκιστής only appears in Act 19,13). Christian exorcism begins when Jesus confers to the 12 apostles and 60 disciples the power of healing the sicks and the power of expelling devils (Mt 10,1, Mc 6,7, Lc 9,l; 10,1.17). All of them act in Jesus Christ's name (Act 3,6; 4,10) by means of a name ὑπὲρ πᾶν ὄνομα (Phil 2,9-l0), with an iniatially simplified ceremonial which lacks the ἀναγνωρισμός, the most dramatic element of Christ's devils expulsions. Nevertheless, Christian exorcism acquired afterwards a greater complexity becoming increasingly alike to magical practices.


Sobre una frase evangélica mal comprendida

Berlanga, Inmaculada

In colloquial, literary spanish, it is used the expression «feed pigs with daisies» to mean a waste with things of quality, something that turns to be useless or doesn't achieve the desired results. It seems that such a spanish sentence is the consequence of a double, wrong, interpretation of the passage of St. Mathew. The present article offers a detailed study of its meaning, form and context of the Greek terms. It suggests another translation that, apart form counting on solid philological arguments, reflects better the knowledge of this saying.


Sobre la clasificación de los sueños de Filón de Alejandría y sus impIicaciones posteriores

Torallas Tovar, Sofía

Philo Alexandrinus wrote his treatise on dreams using as a frame a Stoic threefold dream-classification. Our aim is the study of the influence of Philo's classification in the tradition of dream-classifications in Antiquity, such as Arternidorus', Macrobius' or Chalcidius'.


Platón, República, IX 588 B - 589B - Nag Hammad Códices VI 48, 16-51, 23: análisis comparativo

Artés Hernández, José Antonio

With this paper we try to compare the Greek text of Plato's Politeia IX 588b-589b with the Coptic version of that text belonging to the Nag Hammadi library (NHC V1 48, 16-51, 23). We'll observe several parallelisms relating to language and structure, but not to contents: very far from a literal translation, Plato's theses have been remade in order to explain and develop some of the most important ideas of Gnosis.


Una etimología en Gregorio de Nacianzo

Lamagna, Mario

In or. 4,109 Gregory of Nazianzus says the word θρησκεύειν comes from Θρᾷκες, referring to Orphic misteries. This was not a common opinion: by comparing this text with or. 39,5 we may conclude that Gregory took the etymology from Plutarch, Alex. 2, 7-8, and modified it for polemic and rhetorical purposes.


Las Islas de los Bienaventurados: historia de un mito en la literatura griega arcaica y clásica

Martínez Hernández, Marcos

The present essay attemp to make the history of the myth of the Islands of the Blest or Fortunate Islands in the archaic and classical periods of the greek literature.


El mito de Ulises en el teatro español del siglo XX

García Romero, Fernando

In this essay is studied the treatment Ulysses' myth has received in twelve dramatic works in the Spanish theatre of the 20th century, the expression being used in the broad sense, since are included Spanish-American and Catalan plays. It is studied specifically the treatment of the three main figures in the myth, Ulysses, Penelope and Telemachus.


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