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. (shrink)

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. (shrink)

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. (shrink)

Platón procura establecer en el Fedro una estrecha vinculación entre la poesía y el ámbito eidético propio del saber filosófico, o al que accede el filósofo mediante una ejercitada captación sinóptico-dialéctica. Tal tipo de poesía filosófica aparece ilustrada a la perfección en la propia palinodia socrática, la cual erige a Sócrates – y en última instancia a Platón – como paradigma de filósofo poeta, palinodia que ha sido obligada a pronunciarse “con ciertos términos poéticos”. Partiendo de esa palinodia como modelo, (...) Platón se propone abordar el tema del éros con discursos filosóficos que se nutran de términos poéticos, o sea, a través de una explícita mixtura de elementos filosóficos y poéticos, cuyo ejemplo más claro es el Fedro en su conjunto, o, en términos más generales, el género dialógico platónico en tanto este pone en escena una interacción entre los registros filosófico y poético. Teniendo en cuenta esta relación de compatibilidad que Platón establece en el Fedro entre su paradigma poético-filosófico y el de tipo tradicional – paradigmas que en los libros II, III y X de la República aparecían claramente en tensión –, en este artículo me interesa apoyar tal relación en la anécdota del sueño relatada por Sócrates al comienzo del Fedón, en la cual el filósofo confiesa ante Simmias y Cebes haber compuesto desde su encierro en la cárcel – ya que anteriormente jamás lo había hecho – poemas basados en la versificación o musicalización de las fábulas de Esopo y un himno a Apolo. (shrink)

The týpos of alternative poetry that Plato starts to delineate in the last part of Republic II can be reduced to two general norms (nómoi) that aim to regulate the treatment of religious aspects in poetic narrations and at the same time establish the bases of a non-anthropomorphic theology that inst..

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. (shrink)

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. (shrink)

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. (shrink)

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. (shrink)