PROA-UA (Univ. de Aveiro)
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Benito Arias Montano y el hebraísmo peninsular: la lírica del Cantar de los Cantares
No full textThis paper examines the rhetorical strategies employed by Benito Arias Montano in his Paráfrasis en tono pastoril (1552), one of the first Spanish poetic versions of the Song of Songs that adopts the Garcilasian tone. At a key moment for the literary and exegetical tradition of the Song, Arias Montano combines elements of the pastoral canon with the Renaissance poetic model, influenced by Petrarch aesthetics. The first part of the study contextualizes the work in relation to the commentaries and translations of contemporary authors, such as Cipriano de la Huerga (Commentaria In Canticum Canticorum, 1580) and Fray Luis de León (Triplex Explanatio, 1580, and his Castilian commentary of 1561). The second part focuses on the analysis of the diegetic procedures of the Paráfrasis, its correspondence with the biblical verses, and the integration of Petrarchan motifs, with special attention to lemmas and toponyms. Based on these analyses, the article offers a new perspective regarding originality and relevance of the paraphrastic method undertaken by Montano in Renaissance exegesis and literary production.Este artículo examina las estrategias retóricas empleadas por Benito Arias Montano en su Paráfrasis en tono pastoril (1552), una de las primeras versiones poéticas en lengua castellana del Cantar de los Cantares que adopta el tono garcilasiano. En un momento clave para la tradición literaria y exegética del Cantar, Arias Montano combina elementos del canon pastoril con el modelo poético renacentista, influido por la estética petrarquista. La primera parte del estúdio contextualiza la obra en relación con los comentarios y traducciones de autores contemporáneos, como Cipriano de la Huerga (Commentaria In Canticum Canticorum, 1580) y Fray Luis de León (Triplex Explanatio, 1580, y su comentario en castellano de 1561). La segunda parte se centra en el análisis de los procedimientos diegéticos de la Paráfrasis, su correspondencia con los versículos bíblicos y la integración de motivos petrarquistas, con especial atención a los lemas y topónimos. A partir de estos análisis, este artículo busca ofrecer una reflexión sobre la originalidad y relevância del método parafrástico llevado a cabo por Montano en la exégesis y la producción literaria del Renacimiento
Fostering Media Literacy through Digital Content Creation: An Educational Initiative at the Buck Festival of Foggia
No full textIn the contemporary educational landscape, digital citizenship and media literacy constitute essential competencies for preparing students to engage critically and consciously with digital media. This study describes an experimental educational initiative conducted at the Buck Festival in Foggia, aimed at developing digital competencies and multimedia expression skills among middle school students. Drawing upon the Theory of Change framework proposed by McDougall & Rega (2022) the project identifies the interventions required to foster transformative learning, whereby students acquire not only technical skills but also civic awareness and autonomous expression capabilities.
The project’s primary objective was to actively engage students in creating digital content, including podcasts, blogs, and web TV reportage, connected to festival events. The adopted methodology, both experiential and collaborative in nature, employed focus groups with guiding questions to gather data on students’ perceptions regarding the project’s educational impact.
Preliminary findings indicate enhanced digital competencies and civic engagement, aligning with the transformative perspective proposed by the Theory of Change. Future research directions encompass a longitudinal analysis of the same student cohort and comparative studies with other educational institutions to assess the model’s applicability across different contexts and evaluate the effectiveness of the educational pathway. 
Exploring Friction in Refugee Narratives: The Cases of Bury Me, My Love and Nour’s Choice
No full textThe study of friction in interactive narrative games and its role in cultural representation is increasingly significant, as it offers fresh insights into how in-game mechanics can mirror and critique first-life sociopolitical issues. This article examines friction as a narrative device and a reflection of systemic barriers through the cases of Bury Me, My Love and Nour’s Choice. Drawing on game studies and postcolonial theory, it is discussed how these strategies create a layered narrative experience. Additionally, it expands the inquiry to cultural representation, employing perspectives from postcolonial and migration studies to demonstrate how design-induced friction echoes the societal obstacles encountered by refugees. The empirical component employs thematic analysis to understand the role of friction in shaping narrative and cultural representation. This study offers new insights into how friction deepens player engagement and disrupts dominant game conventions
A Pragmatic Approach for Web3 Software Quality Assurance Based on International Guidelines
No full textEnsuring software quality in the Web3 ecosystem presents unique challenges due to its decentralized architecture and evolving technical landscape. While international standards such as the SQuaRE (Systems and software Quality Requirements and Evaluation) framework offer structured approaches for quality assurance, they are often perceived as overly theoretical and not directly applicable to blockchain-based applications. This study aims to translate these standards into actionable practices suitable for Web3 environments, thereby supporting compliance and fostering stakeholder trust. Using the Design Science Research methodology, complemented by Lean Startup principles, a practical quality assurance guide was co-developed through collaboration between VOH.CoLAB researchers and the Exeedme project team and inspired by the practical experience in gaming and digital assets trading blockchain-based platforms. The resulting guide includes a structured framework comprising eight testing domains, 16 sub-domains and 108 targeted tests, with the domains addressing critical features of blockchain software, including, functional suitability, integration, security, performance, usability, portability, recoverability and resilience. This work contributes to the operationalization of international quality standards in decentralized technology, promoting more resilient and trustworthy blockchain applications
Comparative analysis of the gastronomic tourism offerings in Ecuador and its main South American competitors
No full textThis study carries out a comparative analysis of the management of gastronomic tourism in South American capitals as tourist destinations. For its development, the guidelines of the World Tourism Organisation (UNWTO) (2020) for the development of gastronomic tourism were used as a reference framework, as a benchmarking tool to evaluate the performance of gastronomic tourism in the reference countries. The study employs an integrative methodology, combining quantitative and qualitative approaches to generate both descriptive information on the territorial characteristics of the study area and quantitative data to project trends and potential territorial consequences of gastronomic tourism in the analysis units. As a fundamental result, it was possible to draw the parameters that characterise each of the destinations analysed. Additionally, strategies for improving the gastronomic tourism offer in Ecuador are presented
O genoma trágico de Antígona: transmissão e mutações do mito tebano
No full textLong before gaining an unequivocal prominence in the production of all the great tragediographers of the Classical Period - who seem to have almost obsessively poured the ominous shadow of contemporary fratricidal struggles into their symbolic flow - the mythical saga of Thebes, based on the unfortunate line of succession of the royal family inaugurated by Cadmus, occurs in multiple narrative allusions, from the primordial poetic testimony of the Iliad and the Odyssey, which will end up being replicated later in multiple allusions by the various archaic poets, and detailed in the narrative sequence of the so-called Theban Epic Cycle. Founded on the symbolic nucleus of a curse, transmitted hereditarily from parents to children, where patterns of deviance and mechanisms of subversion, similar to those of a segregating disease, multiply and worsen, the Theban saga will also occur in textual transmission, sequenced by very diverse narrative versions, marked by recurring inconsistencies. Under this peculiar thematic framework, we therefore set out, like a genetic sequencing exercise, to decode Antigone’s genome, comparatively analysing the ancient textual versions and identifying their deviations and narrative mutations. By comparing the different versions, we try to understand the extent to which the ancient worldview deepens the conviction that a mistake or deviation in behaviour, configured as a subversion of linearity, can become a driving force for tragic action for those in need.Muito antes de conquistar um inequívoco protagonismo na produção de todos os grandes tragediógrafos da Época Clássica ‒ que parecem ter vertido quase obsessivamente no seu caudal simbólico a sombra ominosa das lutas fratricidas contemporâneas ‒ a saga mítica de Tebas, alicerçada sobre a desventurada linha sucessória da família real inaugurada por Cadmo, ocorre em múltiplas alusões narrativas, desde o primordial testemunho poético da Ilíada e da Odisseia, que acabará por se replicar depois em múltiplas alusões dos vários poetas arcaicos, e detalhar--se na sequência narrativa do chamado Ciclo Épico Tebano.Fundada sobre o núcleo simbólico de uma maldição, transmitida hereditariamente de pais a filhos, onde se multiplicam e agravam padrões de desvios e mecanismos de subversão, semelhantes aos de uma doença segregadora, a saga tebana ocorrerá também na transmissão textual, sequenciada por muito diversas versões narrativas, marcada por recorrentes incoerências. Ao abrigo deste peculiar enquadramento temático, propusemo-nos, pois, à semelhança de um exercício de sequenciação genética, descodificar o genoma de Antígona, analisando comparativamente as versões textuais antigas, e identificando os seus desvios e mutações narrativas. Pelo confronto das distintas versões, tentamos perceber em que medida a mundividência antiga aprofunda a convicção de que um erro ou desvio de comportamento, configurado como uma subversão à linearidade, pode assumir-se um motor de acção trágica para os infelizes mortais
Ordine e disordine nell’opera di Sofocle: considerazioni preliminari a partire dall’Antigone
No full textThe article investigates how Sophocles recorded and reinterpreted the social tensions that traversed 5th century B.C. Athens in his tragedies, through a preliminary analysis conducted on Antigone. The reflection focuses on the idea of order and disorder, examining the use of terms derived from κοσμ- and their meaning in the contexts in which Sophocles used them within the play, aiming to understand the dramaturgical relevance of these terms within the drama. This results in the possibility of identifying behaviors κατὰ κόσμον and οὐ κατὰ κόσμον, highlighting how the intentions of the characters in conflict reflect the dynamics of political-social tension ready to revolutionize the established order (kosmos) and transform it into disorder (akosmia). Socio-political equilibrium is achievable only by respecting the deities and through the constant attempt to reconcile the interests of individuals, as part of a community, and to mediate between the remnants of the aristocratic archaic culture and the new democratic direction of the Athenian polis.L’articolo indaga il modo di Sofocle di registrare e riproporre in tragedia le tensioni sociali che attraversarono l’Atene del V. sec. a.C., attraverso un’analisi preliminare condotta sull’Antigone. La riflessione si concentra sull’idea di ordine e disordine all’interno dell’opera, riflettendo sull’uso di termini dalla radice κοσμ- e sul loro significato nei contesti in cui Sofocle li impiega all’interno dell’opera, cercando di comprendere quanto la scelta di questi lemmi abbia rilevanza drammaturgica all’interno del dramma. Ne risulta la possibilità di individuare quali sono i comportamenti κατὰ κόσμον e οὐ κατὰ κόσμον, evidenziando come gli intenti dei personaggi in conflitto tra loro riflettano le dinamiche di tensione politico-sociale pronte a rivoluzionare l’ordine stabilito (kosmos) e trasformarlo in disordine (akosmia). L’equilibrio socio-politico risulta realizzabile solo nel rispetto delle divinità e nel costante tentativo di composizione degli interessi dei singoli, in quanto parte di una comunità, e di mediazione tra i residui della cultura arcaica di matrice aristocratica e il nuovo indirizzo democratico della polis ateniese
Tres Antígonas y un autor: Guillermo Heras, Antígona en la frontera, Hantígona y Ardiente Antígona
No full textThe Spanish actor, director, critic, cultural manager, teacher and playwright Guillermo Heras, although he is an international reference in contemporary drama and its staging, was also interested in Greek mythology and the classics, publishing texts inspired by the figures of Phaedra, Andromache and Antigone. We look at the three titles that have come from the pen of Heras, one published (Ardiente Antígona) and two of them unpublished (on loan from the author to me), composed months before his death in 2023. Interested in very different characters, located in dissimilar spaces and times, under disparate moral codes, but facing the same problems both in fiction and in reality, dominated by passions that make them seem more and more human, I am interested in determining how his Antigones are projected in successive dramatic variations, but with the same purpose: to awaken the spectator’s lucidity about the world that welcomes them.El actor, director, crítico, gestor cultural, docente y dramaturgo español Guillermo Heras, aunque es un referente internacional de la dramaturgia contemporánea y de su puesta en escena, se interesó también por la mitología griega y por los clásicos, publicando textos inspirados en las figuras de Fedra, Andrómaca y Antígona. Abordamos los tres títulos que han salido de la pluma de Heras, uno publicado (Ardiente Antígona) y dos de ellos inéditos (cedidos por el autor a la que firma este trabajo), compuestos meses antes de fallecer en 2023. Interesado por personajes muy diferentes, ubicados en espacios y tiempos disímiles, bajo códigos morales dispares, pero que enfrentan los mismos problemas tanto en la ficción como en la realidad, dominados por unas pasiones que los hacen parecer cada vez más humanos, me interesa determinar cómo sus Antígonas se proyectan en sucesivas variaciones dramáticas, pero con una misma finalidad: despertar la lucidez del espectador sobre el mundo que los acoge
Los dos relatos divergentes de Antígona (Sófocles / Higino) presentes en la ópera del siglo XVIII
No full textThe mythical story of Antigone is well known. She returns to Thebes after the death of Oedipus at Colonus at the time of the confrontation between her two brothers. After Eteocles and Polyneices have killed each other, she disobeys the law decreed by the sovereign Creon and performs funeral honors on the corpse of her brother Polyneices. After this infraction, the mythical story has two versions: in the first -whose main source is Sophocles- Antigone is locked up alive and kills herself, causing the subsequent suicide of her fiancé Haemon and her mother. In a second version, found as a complete source in Hyginus, it is said that Antigone did not die, but rather fled from Thebes and had a son. This article demonstrates how these two versions of the classical world will also appear represented in opera librettos as examples of Classical Reception. Two operas performed in the second half of the 18th century are taken as an example, both titled Antigona: the first, performed in Rome in 1751, with text by the librettist Gaetano Roccaforte and music by the composer Baldassare Galuppi, in which a woman is shown on stage, Antigone mother; and the second, performed in Saint Petersburg in 1772, which follows the Sophoclean version, with text by Marco Coltellini and music by Tommaso Traetta.El relato mítico de Antígona es ampliamente conocido: tras la muerte de Edipo en Colono, regresa a Tebas en el momento del enfrentamiento entre sus dos hermanos. Una vez que estos, Eteocles y Polinices, se han dado muerte mutuamente, desobedece la ley decretada por el soberano Creonte y realiza honras fúnebres sobre el cadáver de su hermano Polinices. Tras esta Los dos relatos divergentes de Antígona 279 infracción, el relato mítico tiene dos versiones: en la primera, cuyo principal representante es Sófocles, Antígona es encerrada viva y se da muerte, provocando el posterior suicidio de su prometido Hemón y de la madre de éste; y en una segunda versión, que se encuentra como fuente completa en Higino, se cuenta que Antígona no murió, sino que huyó de Tebas y tuvo un hijo. Este artículo demuestra cómo estas dos versiones del mundo clásico también aparecerán representadas en los libretos de ópera como ejemplos de Recepción Clásica. Se toman como ejemplo dos óperas representadas en la segunda mitad del siglo XVIII tituladas Antigona: la primera, representada en Roma en 1751, con texto del libretista Gaetano Roccaforte y música del compositor Baldassare Galuppi, en la que se muestra en escena a una Antígona madre; y la segunda, representada en San Petersburgo en 1772, que sigue la versión sofoclea, con texto de Marco Coltellini y música de Tommaso Traetta
Antigone, Madame Royale
No full textIn the history of Antigone’s reception, an ancient French play, which apparently only survives in a unique manuscript preserved in the Bibliothèque Nationale de France, has been overlooked, or even ignored, by scholars: it is dedicated, under the title of Antigone. Tragédie En 5 Actes, by a self-styled Vicomte of… (the specification is omitted), to an unnamed Son Altesse Royale Madame la Dauphine. This paper is intended to be a contribution to a desirable critical edition of that tragedy, not only because of its inherent quality, but also in that it is a part of a distinguished tradition and an evidence of the theatrical tastes of Ancient Régime as well.Nella storia della ricezione di Antigone, un dramma francese conservato in un unico manoscritto presso la Biblioteca Nazionale di Francia è stato finora trascurato, se non ignorato, dagli studiosi; esso è dedicato, sotto il titolo di Antigone. Tragédie En 5 Actes, da un sedicente M(onsieur) Le Vicomte De… (il nome è omesso) a una non meglio specificata Son Altesse Royale Madame la Dauphine. Con questo articolo si intende contribuire a una auspicabile edizione critica del testo, non solo per la sua qualità intrinseca, ma anche in quanto parte di una tradizione peculiare e documento dei gusti teatrali dell’Ancient Régime