1,372,770 research outputs found
La donna diavolo nella grecia antica: Lamia, Circe, Empusa e le stagioni della vita umana
No full textEl objetivo de este trabajo es investigar la historia de la monstruosidad femenina en la literatura griega antigua para recuperar algunas estructuras arquetípicas de pensamiento que se ocupan de la antigua y moderna conciencia colectiva sobre el problema del mal, su naturaleza, sus razones y también su falta de razones. De este modo yo repasé las "vidas paralelas" de tres famosas mujeres fatales de la mitología clásica que, colocadas en puntos decisivos de árboles genealógicos horribles llenas de 'maldiciones genéticas', son capaces de formar un tríptico bien definido de "medallones" enmarcados por un fil rouge de la monstruosidad ininterrumpida. Paradigmático de la dialéctica ambigua entre hombre-mujer, bien-mal, víctima-verdugo, normalidad-desviación, y de las dinámicas incontrolables entre los crímenes y los castigos, miedos ancestrales y deseo de descubrimiento, demonios buenos y malos, los mitos de Lamia, Circe y Empusa destacan la atracción irracional que, en la cultura griega antigua, tan racionalista, las personificaciones femeninas del mal son imaginadas moviéndose, con el fin de influir en la conducta humana en las principales etapas de la vidaAim of this paper is to investigate the history of female monstrosity in ancient Greek literature in order to recover some archetypal structures of thought concerned with ancient and modern collective consciousness on the evil's problem, its nature, its reasons and also its absence of reasons. So, I retrace the 'parallel lives' of three famous femmes fatales of classic mythology that, placed at turning points of horrific genealogical trees full of 'genetic curses', are able to form a well defined triptyque of 'medallions' framed by a fil rouge of uninterrupted monstrosity. Paradigmatic of the ambiguous dialectics between male-female, right-evil, victim-executioner, normality-deviance, and of the uncontrollable dynamics between crimes and punishments, ancestral fears and wish of discovery, good and bad demons, the myths of Lamia, Circe and Empusa highlight the irrational attraction that, in the ancient, so rationalistic, Greek culture, feminine personifications of evil are imagined to move, so as to influence human behaviour in the main seasons of lifeFil: Imperio, Olimpia. Università degli Studi di Bari
A bidimensional fluid system with competing interactions: spontaneous and induced pattern formation
No full textIn this paper we present a study of pattern formation in bidimensional systems with competing short-range attractive and long-range repulsive interactions. The interaction parameters are chosen in such a way as to allow us to analyse two different situations: the spontaneous pattern formation due to the presence of strong competing interactions on different length scales and the pattern formation as a response to an external modulating potential when the system is close to its Lifshitz point. We compare different Monte Carlo techniques showing that the parallel tempering technique represents a promising approach for the study of such systems and we present detailed results for the specific heat and the structural properties. We also present random phase approximation predictions concerning spontaneous pattern formation (or microphase separation), as well as linear response theory predictions concerning the induced pattern formation due to the presence of an external modulating field. In particular we observe that the response of our systems to external fields is much stronger than the response of a Lennard-Jones fluid
A ‘Metic’ Prometheus in Aristophanes’ Birds
No full textThis paper revisits the scene from Aristophanes’ Birds where Prometheus engages in political espionage against Zeus, acting at the behest of Peisetaerus, the founder of Cloudcuckooland. Disguised as a skiadēphoros — and thus effectively as a metic — Prometheus recalls the figure of Teukros, one of the metics who, under the immunity granted during the investigations into the profanation of the Mysteries and the mutilation of the Herms, played a key role in instigating numerous arrests and convictions. The scene with Prometheus thus evokes the witch-hunt-like atmosphere that gripped Athens following the impieties of 415 BCE, on the eve of the Sicilian expedition
Microphase separation in two-dimensional systems with competing interactions
No full textThe formation of clusters in condition of thermodynamic equilibrium can be easily observed both in two and three dimensions. In two dimensions relevant cases include pattern formation in Langmuir monolayers and ferrofluids, while in three dimensions cluster phases have been observed in colloids and in protein solutions. We have analyzed the problem within the scenario of competing interactions: typically, a short-range attractive interaction against a long-range repulsive one. This simplified approach is suggested by the fact that the forces, governing self-organization, act on a length scale which is larger than the molecular size; as a consequence many specific details of the molecules of interest are not necessary for studying the general features of microphases. We have tackled the microphase formation by simulations in bidimensional fluids, exploiting the parallel tempering scheme. In particular, we have analyzed the density range in which the particles arrange in circular domains (droplets), and the temperature range in which the system goes from microphases to the homogeneous fluid phase. As the density increases, the droplet size increases as well, but above a certain density the morphology changes and stripes are formed. Moreover at low density, we observe the formation of a liquidlike phase of disordered droplets; at higher densities, instead, the droplets tend to arrange onto a triangular superlattice. Such a change affects the features of the static structure factor, which gives well defined signatures of the microphase morphology. In each case, the specific heat exhibits a peak close to the transition from microphases to the homogeneous fluid phase, which is due to the breaking up of the clusters. The saturation of the height of the specific heat peak, with the increasing of the system size, suggests the possibility of a Kosterlitz-Thouless transition
Personificazioni dell'arte poetica e metafore parentali: la maternità letteraria tra commedia e filosofia
No full textIn the ‘eupolideans’ of Clouds II, evoking the beginning of his own artistic career, Aristophanes identifies himself with a παρθένος who, being unmarried, had to ‘expose’ her own ‘creature’ (the Banqueters staged by the poet in his first comedy in 427 b.C.), which was ‘picked up’ by another παῖς (the director Kallistratus) and ‘brought up’ by the public: the same public that – as the poet claims – inexplicably repudiated Clouds I, four years later. Within the same passage, Aristophanes represents this comedy (in the new version) as a new Elektra, who goes to her father’s grave hoping to find the hair lock that will reveal the presence of her brother Orestes. Due to its high metaphorical and allegorical value, this parabatic passage plays a very peculiar role in the canonical repertory of personifications of poetry, and particularly of comedy, that can be found in the surviving plays of Aristophanes as well as in the fragments of other authors of the archaia
Aristofane sulla scena moderna: i Cavalieri a Siracusa (stagione teatrale INDA 2018)
No full textPolitical and historical significance of Aristophanes' Knights in the modern performance acted for the first time in the Greek theatre of Siracuse during the theatrical season INDA 2018Significato stoirico-politico dei Cavalieri dei Aristofane nella rappresentazione moderna realizzata per la prima volta nel teatro greco di Siracusa durante la stagione teatrale organizzata dall'INDA (Istituto Nazionale del Dramma Antico) nel 201
Aristofane sulla scena moderna: le Rane a Siracusa (stagione teatrale INDA 2017)
No full textPolitical, historical and literary significance of Aristophanes' Frogs in the new modern performance acted in the Greek theatre of Siracuse during the theatrical season INDA 2017.Significato storico, politico e letterario delle Rane di Aristofane nella nuova moderna rappresentazione portata in scena nel teatro greco di Siracusa in occasione della stagione teatrale organizzata dall'INDA (Istituto Nazionale del Dramma Antico) nel 2017
I demagoghi nelle commedie di Aristofane e dei suoi rivali
No full textIn the parabasis of Clouds II, speaking about the treatment reserved to Cleon in the Knights, Aristophanes implicitly presents himself as πρῶτος εὑρετής of the so-called ‘demagogue comedy’. But we know that things are not properly so: at least one important exemplum is offered by Cratinus’ Dionysalexandros, mythological comedy whose protagonist had to be identified by innuendo with Pericles. Nor, on the other hand, Aristophanes is totally original in its choice of consecrating the whole play to a demagogue still on the top: some years after the representation of the Knights, and before the revision of Clouds’ parabasis, Eupolis had done of a Persian slave, Marikas, the alter ego of Hyperbolus who, after Cleon’s death, had taken the leadership of radical Athenian democracy. Furthermore, to Hyperbolus is entitled a comedy of Plato comicus, who is also author of two more ‘demagogue comedies’: Peisandros and Cleophon. How to judge, then, the hyperbolic Aristophanes’ claim? That’s the question from which will start this paper, which aims to investigate the origins and the limited luck of such peculiar subgenre of Athenian political comedy.Nella parabasi delle Nuvole seconde, parlando del trattamento da lui riservato a Cleone nei Cavalieri, Aristofane si autorappresenta implicitamente come il πρῶτος εὑρετής della cosiddetta 'demagogie-comedy'. Ma noi sappiamo che le cose non stavano esattamente così: almeno un importante esempio è offerto prima dei Cavalieri dal Dionisalessandro di Cratino, una commedia mitologica il cui protagonista doveva essere identificato, per via allusiva, con Pericle. Né, d'altra parte, Aristofane è totalmente originale nella sua scelta di consacrare l'intera commedia a un demagogo ancora in auge: alcuni anni dopo la rappresentazione dei Cavalieri, e prima della revisione della parabasi delle Nuvole, Eupoli aveva fatto di uno schiavo persiano, di nome Maricante, l'alter ego di Iperbolo, colui il quale, dopo la morte di Cleone, aveva assunto la leadership della democrazia radicale ateniese. Peraltro a Iperbolo è intitolata una commedia di Platone comico, che è anche l'autore di due ulteriori 'demagogue commedies', il Pisandro e il Cleofonte. Come giudicare dunque la iperbolica rivendicazione di Aristofane? Questo l'interrogativo da cui parte questo saggio, che mira a indagare le origini e la limitata fortuna di questo peculiare sottogeneri della commedia politica ateniese del quinto secolo
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