Lucas Soares

El objetivo del presente trabajo es apoyar una interpretación jurídico-moral del fragmento DK 12 B 1 del filósofo presocrático Anaximandro de Mileto recurriendo a la poesía político-moral de Solón. En este sentido, partiendo de una recopilación de los puntos de coincidencia entre ambas concepciones, intentaremos demostrar que es posible considerar la poesía de Solón como un antecedente claro del cosmos jurídico-moral de Anaximandro. Por otra parte, esta recuperación tiene por objeto poner de relieve la correspondencia entre el inicio del Estado jurídico en la Atenas de Solón y el nacimiento de la conciencia filosófica en Anaximandro.

En este artículo nos proponemos indagar acerca del tipo de receptor de poesía que subyace en los planteos de Platón y Aristóteles, a fin de esbozar los rasgos sobresalientes de cada uno y dar cuenta de algunas de las similitudes y contrastes entre ambos modelos de recepción poética. Sostenemos que la crítica que Platón dirige contra la poesía tradicional no solo le permite a este delinear un nuevo paradigma de poesía admisible para su pólis ideal, sino también un tipo de receptor de poesía que le ofrecerá a Aristóteles la posibilidad de configurar el suyo sobre la base de las similitudes y contrastes con el modelo de recepción de su maestro.

Of all the themes running through the Sophist, in this paper I am interested in focusing on the definitions, particularly on the seventh of these, as in its attempt to hunt the sophist and distinguish his own particular activity, Plato may therein make important references to the "technique of producing images" (eidolopoiike techne). It is in the context of this seventh definition of the sophist as a 'wizard' (goes) and 'imitator' (mimetes), belonging to the "genre of the illusionists" who perform illusions in their discourses, where Plato mentions the examination of such a productive human technique of an imitative nature (mimetike) and, what interests me, the explanation of its potential divisions (eikastike and phantastike) in order to include the sophist in one of these. The drama of the original and the image that the Sophist stages, and whose inclusion leads to a new reworking in the domain of mimetics, will allow us, in making it extensive in the specific case of poetic mimesis, to corroborate from another perspective the counterpoint between poetic paradigms (traditional and platonic) which can be deduced from books II, III and X of The Republic.

Este trabalho analisa a estrutura do romance Como se estivéssemos em palimpsesto de putas, de Elvira Vigna como também, as relações sexistas às quais as personagens estão submetidas. Retratados por meio de uma narradora não revelada, estratégia estética realçadora da invisibilização da mulher dentro da sociedade, os causos de João, um profissional cujo único prazer é o sexo com garotas de programa, servem de retrato da construção da masculinidade e da dimensão patriarcal. Utilizando-se do artifício do palimpsesto como crítica ao patriarcado, o seguinte trabalho denuncia, a partir das leituras de textos de Monique Wittig e Gerda Lerner, como as diversas expressões do machismo se comportam através das sobreposições de vozes que emergem da narrativa.Palavras-chave: Elvira Vigna. Palimpsesto. Patriarcado. Crítica Feminista. Memória. AbstractThis article analyzes the structure of Elvira Vigna’s novel Como se estivéssemos em palimpsesto de putas as well as the sexist relations to which the characters are submitted. Portrayed through an undisclosed female narrator, an aesthetic strategy that enhances the invisibility of women within society, the stories of João, a professional whose only pleasure is having sex with prostitutes, serve as a portrait of the construction of masculinity and the patriarchal dimension. Using the palimpsest as a criticism for patriarchy, Vigna’s work denounces, from the readings of texts by Monique Wittig and Gerda Lerner, the various expressions of sexism behavior through the overlapping voices that emerge from the narrative.Keywords: Elvira Vigna. Palimpsest. Patriarchy. Feminist Critique. Memory.

En este trabajo nos proponemos analizar el carácter “por naturaleza” que Aristóteles le atribuye a la politicidad humana. Comenzaremos dicho examen atendiendo, en primer lugar, a una reconstrucción y explicación de las descripciones y argumentos que va ofreciendo Aristóteles acerca de la génesis de la polis y del hombre como “animal político” “por naturaleza”, a lo largo de los dos primeros capítulos del libro I de la Política, junto con algunos pasajes pertenecientes al libro III. Procuraremos, en segundo lugar, relevar algunos de los presupuestos metafísicos y físicos que operan a la base del carácter “por naturaleza” asignado a lo político, a fin de dilucidar en qué consiste –dentro de la concepción aristotélica presentada en la Política– tal carácter. Por último, pondremos de relieve la colaboración recíproca que establece Aristóteles entre la tendencia “natural” del hombre a la politicidad y la voluntad humana del fundador de la polis.

In Republic 436a-c Plato introduces, for the first time, the problematic postulate of the tripartition of the species-functions of the soul to pass on to justify it by starting from the so-called “Principle of conflict” or “of the impossibility of opposites”. To reach this point in the dialogue, we will firstly place this passage in the conceptual architecture of the work, taking the topic of stasis (sedition, revolt, civil war) as the thread for the reconstruction of the argumentative sequence that leads into the psychological model of the parts in conflict. We actually start from the hypothesis that Plato gets to the tripartition of the soul from the evidence that in the psychological reality of the individual there exists a stasis that is produced in the soul due to injustice, contrasting to the concord and friendship that is a result of justice. On the basis of the psychological model of the parts in conflict, the psycho-political objective looked for in Republic, points to the achievement of the psychic unity as a condition for the political unity; since Plato’s political objective is to make citizens become better, which can only be reached through an improvement of the individual soul. Through the topic of stasis and the lexis of the conflict that derives from it, we uphold that Plato intends to prove not only the political and tripartite constitution of the soul, but first and foremost the priority that the psychic tripartition holds over the political order.

La frase del poeta inglés Samuel Taylor Coleridge, “todos los hombres nacen aristotélicos o platónicos”, traída a colación por Borges en diversas ocasiones, es harto conocida y citada. Pero lo que a mi modo de ver no ha sido tan explorado es el sentido que la disyunción implicada en dicha frase asume en la obra borgeana. Analizar cómo juega en ella tal disyunción entre Platón y Aristóteles, a la luz de las referencias que Borges hace de ellos a lo largo de su obra, es el propósito de este trabajo. Para ello me interesa relevar algunos motivos platónicos y aristotélicos empleados por aquel en función de su universo ficcional, a fin de evaluar el sentido y alcance de dicha disyunción. Mi hipótesis es que ella asume en la obra de Borges un sentido débil e incluyente, que posiciona a este autor en una vía entre Platón y Aristóteles.

En este artículo me interesa sostener que en la República la posibilidad de una buena koinōnía se ve obstaculizada por la potencia emocional y perversión psicológica de la poesía mimético-placentera, la cual estimula y fortalece la parte irracional del alma de sus receptores mediante la imitación de personajes ligados al deseo y la ira. Para tal fin examino, en primer lugar, algunos de los pasajes de República IV en los que es posible suscribir la prioridad que tiene la tripartición psíquica por sobre la tripartición política. En segundo lugar, señalo algunos de los rasgos centrales de la crítica psicológica de la poesía mimético-placentera en República X.

Plato seeks to establish in _Phaedrus_ a close link between poetry and the eidetic sphere to which philosophical knowledge belongs, or which the philosopher accesses through a practiced synoptic-dialectic understanding. This type of philosophical poetry is perfectly illustrated in the Socratic palinode itself, which Socrates –and ultimately Plato – establishes as a paradigm of the poet philosopher, a palinode by necessity must be uttered “with certain poetic terms”. Working from that palinode as a model, Plato seeks to approach the subject of _éros_ with philosophical discourses fed with poetical terms, that is, through an explicit blend of philosophical and poetic elements, the clearest example of which is the _Phaedrus_ as a whole, or, in more general terms, the Platonic dialogical genre in as much as this puts forward an interaction between the philosophical and poetic registers. Taking into account this relationship of compatibility that Plato establishes in _Phaedrus _between the poetic-philosophical paradigm and the traditional paradigm – which in books I, III and X of the _Republic_ clearly appeared in tension–in this paper I’m interested in supporting such a relationship in the dream anecdote as told by Socrates at the start of the _Phaedo_. In this anecdote, the philosopher confesses to Simmias and Cebes that since his time in prison, although he had never done such a thing before before, he has been composing poems based on the versification and musicalization of Aesop’s fables and a hymn to Apollo.

En este trabajo me interesa abordar la figura del poeta legislador Solón, a fin de examinar la influencia que sus escritos pudieron haber ejercido sobre la concepción de la poesía forjada por Platón en _Leyes_. No se trata tanto de la poesía de Solón en sí misma como de lo que Platón supo leer en ella en términos de posibilidad para la conformación de un nuevo linaje poético. Partiendo de un breve examen de la figura de Solón y de algunos de sus escritos, procuro dar cuenta de la influencia que aquel célebre legislador pudo haber ejercido sobre la figura platónica del poeta legislador.

The Platonic reevaluation of traditional poetry in positive terms that we read in the Phaedrus, in as much as it is conceived therein as a valuable educational resource for posterity, does not strictly imply anything new in the Platonic corpus, but rather a systemization and complementation of a set of ideas about the origin and function of poetry that Plato had already shared in some of his early, transitional and late dialogues. From this broad set of ideas, I am interested in this study in concentrating especially on a series of passages taken from the Symposium, in order to compile two lines of analysis in this paradigmatic late dialogue which, I understand, constitute a clear precedent for the positive conception that Plato finally assumes about traditional poetry in the Phaedrus.