Las expresiones de violencia en dos mujeres extranjeras : Medea y Hécuba de Eurípides
| Publicado en: | Coloquio Internacional (7 : 2015 : Ensenada) - Una nueva visión de la cultura griega antigua en el comienzo del tercer milenio: perspectivas y desafíos - . Ensenada : Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Centro de Estudios Helénicos, 2015 |
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| Autor Principal: | |
| Formato: | Documento de evento |
| Acceso en línea: | https://www.memoria.fahce.unlp.edu.ar/trab_eventos/ev.10040/ev.10040.pdf http://coloquiointernacionalceh.fahce.unlp.edu.ar/7ciceh |
| Resumen: | El presente trabajo propone el estudio de , la violencia en el protagonismo femenino de dos extranjeras: Medea y Hécuba en las obras homónimas del poeta trágico Eurípides. En dichas obras advertimos el eje estructural de la venganza, expresión extrema de la violencia, como instrumento de devastación. Hall afirma: "Medea is arguably the most theatrical of all Greek tragic characters" y quizá por ello, su situación de mujer aporética, de sin salida y, a un mismo tiempo, su imperancia destructiva, se homologan desde el plano de los estudios comparados con el accionar de otra mujer, Hécuba, no menos cruenta y no menos vengativa que aquélla. 1 Sin embargo, el filicidio en la primera, es el único eslabón que las disgrega. Estas mujeres bárbaras, la colquidense como la troyana, aparecen como contestatarias a la traición y, por tanto, responderán taliónicamente a sus enemigos con la ejecución de otros flagelos The current work suggests the study of , the violence in the feminine prominence of the two foreigners: Medea and Hecuba in tragedian poet Euripides? homonymous plays. In the aforesaid plays we notice the central concept of revenge, extreme expression of violence, as a devastation instrument. Hall states: "Medea is arguably the most theatrical of all Greek tragic characters" and maybe because of that her situation of aporetic woman of no way out and, at the same time, her destructive dominance, make equivalent from the level of compared studies with the performance of another woman, Hecuba, not less bloody and vindictive than that one. Nevertheless, the filicide in the former is the only link that disperses them. These barbarian women, the Colchian and the Troyan, appear as rebellious to the betrayal and, therefore, they will respond in a talion way to their enemies in the execution of other scourgesThe current work suggests the study of ??Ó, the violence in the feminine prominence of the two foreigners: Medea and Hecuba in tragedian poet Euripides? homonymous plays. In the aforesaid plays we notice the central concept of revenge, extreme expression of violence, as a devastation instrument. Hall states: "Medea is arguably the most theatrical of all Greek tragic characters" and maybe because of that her situation of aporetic woman of no way out and, at the same time, her destructive dominance, make equivalent from the level of compared studies with the performance of another woman, Hecuba, not less bloody and vindictive than that one. Nevertheless, the filicide in the former is the only link that disperses them. These barbarian women, the Colchian and the Troyan, appear as rebellious to the betrayal and, therefore, they will respond in a talion way to their enemies in the execution of other scourges |