This paper underlines the role of postmodern rewriting in feminist literature based on the novel The Penelopiad by Margaret Atwood. The Penelopiad is a postmodern rewriting in which the feminist ...discourse criticizes the patriarchal view on the relationship between sexes in the desacralization of the Odysseus – Penelope couple. In her desire to disclose the flaws of patriarchy, Atwood shifts the centre of the narrative perspective from the masculine to the feminine and draws attention to the victims of this type of society. In this feminist rewriting, Atwood aims beyond the Homeric myth, at the contemporary society that, despite its theoretical principles about equality between sexes, is unable to provide a climate in which women are granted full rights. In this context, rewriting becomes not only a means of social criticism, but also a field for the battle against the centre, and the myth is the story that must be eliminated because it reflects a guilty, intolerant mentality that is incompatible with progress.
Na formação inicial e posterior desenvolvimento de uma tradição etnológica em Portugal, são retidos geralmente três nomes: Adolfo Coelho, Teófilo Braga e José Leite de Vasconcelos, autores a quem ...Jorge Dias reserva a designação de "mestres". Contudo, outros investigadores desempenharam, no mesmo período, um papel de relevo. Entre eles conta-se, além de Rocha Peixoto, Zófimo Consiglieri Pedroso. Este volume vem precisamente pôr à disposição dos estudiosos e do público interessado o conjunto de textos que integram a obra etnográfica deste último, com exceção dos Contos Populares Portugueses. Aproveitou-se, no entanto, o ensejo, para recolher dezoito outros contos populares, não incluídos pelo autor nessa coletânea e originalmente editados de forma algo dispersa em publicações de difícil acesso. Com um horizonte temático que vai desde a constituição da família primitiva até aos estudos sobre a mitologia popular portuguesa, o levantamento de que esta edição resulta procurou ser exaustivo. Trata-se acima de tudo de redescobrir um autor que, tanto do ponto de vista da informação que recolheu e publicou, como do ponto de vista das preocupações mais gerais de que a sua obra se faz eco, tem direito a um lugar menos marginal do que aquele que ocupou durante algum tempo, um lugar mais próximo dos "mestres".
El impacto de las epidemias en la historia es constatable desde todos los ámbitos de producción intelectual y artística del hombre. La pintura, además de hacerse eco de estos desastres, constituye ...una de las fuentes más interesantes para aproximarse a la interpretación dada a los mismos por las distintas sociedades, dejando entrever datos de rigor histórico, así como elementos englobados dentro del complejo mundo de las mentalidades. La peste negra sufrida por Europa, en la segunda mitad del siglo XIV, supone un punto de inflexión en la representación de la muerte, quien en forma de esqueleto o ser fantasmagórico triunfa sobre la vida, perpetuándose esta visión hasta la centuria del Ochocientos.
Para los aztecas, los axólotls eran animales divinos, ya que representaban al dios Xólotl, quien escapó convirtiéndose en maíz, maguey y, luego, en axolotl, para evitar el sacrificio, pero, ...finalmente, fue atrapado y sacrificado. Varios escritores mexicanos han recuperado tanto a Xólotl como a Axolotl en sus textos literarios y ensayísticos. Salvador Elizondo escribe “Ambystoma trigrinum”, texto que forma parte del libro El grafógrafo. Así también Juan José Arreola publica “El ajolote”, que después sería incluido en su Bestiario. Octavio Paz recupera el sustrato mitológico del dios Xólotl en Salamandra, así como también lo hace José Emilio Pacheco en El reposo del fuego. Mi propósito en este ensayo consiste en analizar cómo el dios azteca Xólotl y su representación anfibia Axólotl han sido objeto de estudio en la imaginación científica, cultural y literaria en el México contemporáneo.
The present work aims to question the functioning of original myths in relation to cinema using two major devices:
on the one hand, the theory of myths proposed by Joseph Campbell. On the other hand, ...Martin Heidegger's ontheological suggestions. Starting from the origin of philosophical thought as the heir –thematically and formally– of
the previous mythical substratum, we will go over some of the key ideas that aim to systematize both the nature
of the myth and, in a second part, what it could mean that it is original. We will conclude that the cinema can indeed occupy this position, but on condition that it detaches itself from the mechanisms inherited from traditional religious and symbolic systems in order to make use of those specifically cinematographic (formal) elements
El presente trabajo pretende preguntarse por el funcionamiento de los mitos originarios en relación con el cine
utilizando dos grandes aparatajes: por un lado, la teoría de los mitos propuesta por Joseph Campbell. Por otro,
las sugerencias ontoteológicas de Martin Heidegger. Partiendo del origen del pensamiento filosófico como heredero –temático y formal– del sustrato mítico anterior, recorreremos algunas de las ideas claves que pretenden
sistematizar tanto la naturaleza del mito como, en una segunda parte, qué podría significar que sea originario.
Concluiremos que el cine puede, en efecto, ocupar esa posición, pero a condición de desprenderse de los mecanismos heredados de los sistemas religiosos y simbólicos tradicionales para hacer uso de aquellos elementos
(formales) específicamente cinematográficos
In Greek Mythology, female monsters, who are savage and animalized women, personify the opposite figure of the Greek man, the figure of the Other. However, the aim of this work is to highlight the ...fact of these creatures being female, given that this is not a casual aspect: not only their appearance but also their behaviour remind of Pandora and even of Gea and Aphrodite. Femmes fatales, savage women and female monsters share several characteristics, which find a precedent in the first woman. These common attributes are beauty, sensuality, cunning, deceit and connection to death. In this way, there are some recognizable attributes, such as Sirens’ ability to seduce, Harpies and Sphinx’s cunning, Gorgo’s proximity to death, Lamias and Striges’ devouring behaviour, or Empusas’ deceiving attitude. All these hybrid beings combine not only positive but also negative attributes, which serve them to drag men to the Underworld. Thus, their nature is evil and female, as usual according to Greek conception.
En la mitología griega, los monstruos femeninos, que son mujeres bárbaras y animalizadas, encarnan la contrafigura del hombre griego, la figura del Otro. No obstante, en este trabajo se pretende resaltar el hecho de que estos seres sean femeninos, pues no se trata de un aspecto casual: tanto su fisonomía como su conducta encuentran paralelos con Pandora e incluso con Gea y Afrodita. Tanto estos seres como las mujeres fatales y las mujeres salvajes comparten varias características que las acercan a la primera mujer, como la belleza, la sensualidad, la astucia, el engaño y la vinculación con la muerte. De este modo, se puede citar la capacidad de seducción de las Sirenas, la astucia de las Harpías y de la Esfinge, la cercanía a la muerte de la Gorgona, el carácter devorador de las Lamias y Estriges o la tendencia al engaño de las Empusas, entre otras. Todos estos seres híbridos se sirven de atributos tanto positivos como negativos para conducir a los hombres al Más Allá. Así, su naturaleza es malvada y, como es habitual en el imaginario griego, femenina.
This book by the renowned Russian linguist and semiotician Nikolai Mikhailov Николай Александрович Михайлов (1967–2010) is now published posthumously, more than ten years after his death. Presented ...is analytic overview of numerous past studies on Slavic and Balto-Slavic mythology. Included are works written by scholars of Slavic mythology based on written sources as well as on findings from folklore, linguistics, and archaeology. The first analysed is the work of the Lusatian-Serbian author Michael Frenzl on Slavic idols, which was written as early as 1691 but not published until 1719. It is followed by treatises and monographs that span across three centuries. The so-called original sources (reports of chroniclers, archaeological sources) may be incomplete and obscure, yet they are in this book again critically analysed. The author reconstructed the mythology of various Slavic nations partly also through the remnants of paganism that have survived to this day in various and often highly modified forms.
The purpose of this study is to show the import of vision and visual discourses in the articulation of desire in Joan Roís de Corella’s fifteenth-century Història de Leànder i Hero. The topoi of the ...“arrows of love” and the power of the gaze to make others fall in love represent both the catalyst that sets in motion the passionate love of Hero and Leànder and the means through which the lovers express their desire and longings. After Hero and Leànder wound each other with the arrows of love, they cannot stop their life-long quest to apprehend visually each other either across the crowd of guests in the festivity or across the Hellespont. Hero’s tower, which becomes a metonym for Hero, is always within Leànder’s choric visual field and cannot stop staring until he dies. Like Leànder, when her lover is not in Sestos with her, Hero cannot stop gazing across the sea in search Leànder. Hence after Leànder drowns and the currents carry his corpse to the shore of Sestos, Hero opens his eyes and kisses them with her own eyes. The eyes-to-eyes kiss underscores and attests to the preeminence of vision and visual theories in forming and conveying desire through sight. Corella, then, uses optical theories, extant during his own time, to showcase the power of the gaze in the articulation and expression of human behavior and desire.
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