Tycho. 2015. No. 3

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    El prólogo como diagnóstico, antesala de la enfermedad en Edipo rey
    (2015) Ramos Aguilar, Claudia
    Por medio del horror y el estremecimiento, la tragedia griega alivió (κάθαρσις) a miles de espectadores que la contemplaron absortos. Señalar el vínculo que puede establecerse entre el método hipocrático y la poesía dramática, con la analogía entre el diagnóstico y el prólogo de Edipo rey, es el objetivo de este artículo.
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    El travestismo dionisíaco
    (2015) Molina Muñoz, Pedro Jesús
    Uno de los elementos más llamativos de las obras dramáticas de tema dionisíaco es quizá el tema de la vestimenta, como elemento de cambio de roles, y el cambio de naturaleza, lo que aporta la base para el menadismo y la androginia de Dioniso. En el presente trabajo, se pretende realizar una visión al respecto de este fenómeno, el del travestismo, partiendo de las obras clásicas completas de tema dionisíaco, Bacantes de Eurípides y Ranas de Aristófanes; y su pervivencia en épocas posteriores, con especial atención a la época bizantina y posterior. Así mismo, se observa la influencia de este fenómeno y cómo queda reflejado en varios autores que hacen referencia al intercambio de vestimenta entre hombres y mujeres como uno de los elementos característicos de los ritos dionisíacos.
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    El erudito en el prólogo de No me fastidies, Electra, de Antonio Aguilera Vita
    (2015) Terol Plá, Gracia
    In this paper the author analyzes an exceptional example of how secondary characters who normally appear in the prologues, and who might seem irrelevant at first glance, can assume a crucial role in the plot. Such is the role who plays the character of the Erudite in No me fastidies, Electra (2009), a recent comedy by the writer and playwright Antonio Aguilera Vita, who reworks the classic tragedies about the family of the Atridae within a comic scope. After an introduction to the comedy and specifically to its prologue, the author draws attention to the figure of the Erudite and studies the peculiarities he shows in relation both to the rest of the characters and to the secondary characters of ancient drama. His three basic functions are analyzed: as a reinterpretation of the chorus; as an active character at the outcome of the play, and as a reflection of the author himself.
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    Un personaje secundario en una obra coral: el pedagogo de Fenicias
    (2015) Revert Soriano, Roberto
    Phoenissae is a play that’s been heavily discussed over the years, whether or not it depicts a character that could actually be considered as a main one, just like Medea or Oedipus could. In our opinion, and considering the obvious lack of a character that would meet such criteria on this Euripidean tragedy, it’s those characters who are easily identified as secondary characters that ultimately become relevant. This is the reason why our essay will focus on the pedagogue character, whose involvement on the play’s prologue turns out to be crucial for an optimum interpretation of the piece, as well as for the subsequent configuration of the rest of characters, most remarkably Antigone, which is one of the main aspects that we’ll try to prove right over the course of the current article.
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    El héroe Crusoe: modernización del mito de Ulises en el siglo XIX
    (2015) Puchal Terol, Victoria
    This article pursues the figure of the myth of Ulysses (or Odysseus) in its refiguration as Robinson Crusoe. The heritage of the traveller figure is examined from the point of view of colonialism in Victorian England. It focuses on the representation of the traveller and the perpetuation of certain mannerisms on stage through sociocultural stereotypes. By means of Henry James Byron’s adaptation of Daniel Defoe’s Robinson Crusoe (1719), it dissects the portrayal of native characters on stage and its influence on British society. The article includes an analysis of the characters in Byron’s Robinson Crusoe or Harlequin Friday (1860), and reveals the demonization of individuals of colour in relation to imperial travellers. This piece concludes by proposing new researches in colonial attitudes as reflected in literature, especially on issues of genre and education.
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    Nature and Culture in Tony Harrison's The Trackers of Oxyrhynchus
    (2015) González Pérez, Leticia
    The aim of Tony Harrison’s The Trackers of Oxyrhynchus, highlighted as one of the 100 best plays in the twentieth century by the National Theatre Millenium Poll, is to bring the dramatic genre of the satyr-play back to life. There is only one complete original version in existence along with scat fragments, in comparison with the greater quantity of classical tragedies which have survived. The Trackers of Oxyrhynchus is a reworking of the papyri fragments of the satyr play Ichneutae (Trackers) by Sophocles, which was inspired by the Homeric Hymn to Hermes. In this article, the idea is to analyse Tony Harrison’s version for the National Theatre, focusing on the importance of nature and culture in the play. The elements of classical tradition remaining from the hypotexts by Sophocles and the Homeric hymn will be explored, together with the ones which have been modified in the version by Tony Harrison and the reasons. There will be an analysis of how the elements of culture stem from the exploitation of nature and the reasons why nature is treated as an inferior being despite the fact that it is the main source of culture. This is exemplified in the contemptuous treatment of the satyrs by Apollo, and especially in the flaying of Marsyas. Furthermore, the analysis will be focused on the way nature eventually takes revenge and how this is portrayed in the play. Finally, the reasons behind Tony Harrison’s reelaboration will be examined, and the conclusion will involve a critical analysis of The Trackers of Oxyrhynchus.
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    El prólogo del Cíclope de Eurípides
    (2015) Jiménez Justicia, Lorena
    This article aims to study the prologue of Euripides’ Cyclops by examining the secondary character who speaks it, Silenus. Taking into account the Odyssey as a hipotext as well as the main features of the satyr drama, I will focus on Euripides’ dramatic innovation, as he turned Silenus and the Satyrs into shepherds who were obliged to serve Polyphemus.