Resumen Platón proyecta en la República un programa cultural que supone la redefinición del papel de la poesía tradicional en razón de su asociación con los regímenes democrático y tiránico. Esto, según pretendo mostrar, puede vincularse de manera legítima con la polémica anticirenaica de Platón contra Aristipo. Para ello, por un lado, exploraré los rasgos del biotipo tiránico y su régimen concomitante en la República VIII-IX y, por otro, analizaré sus vínculos con los planteamientos anticirenaicos en el Gorgias. Este examen (...) permitirá ofrecer claves de análisis para dos pasajes muy discutidos de la República IX: el símil del ascensor y el número del tirano, que cobran una nueva luz a partir de la consideración de esta polémica intrasocrática.Plato put forward in Republic a cultural program which implies the redefinition of the role of traditional poetry due to its association with the democratic and tyrannical regimes. I intend to show that this point is connected with the anti-cyrenaic arguments that Plato raises against Aristippus. On the one hand, I will study the features of the tyrannical biotype and its correspondent regime in Republic VIII-IX, and, on the other, I will analyze its links with the anti-cyrenaic arguments in Gorgias. This exam will allow us to offer some clues to better understand two widely debated passages in Republic IX: the analogy of the lift and the tyrant’s number. Both acquire a new perspective when this intra-socratic polemic is taken into account. (shrink)

Xenophon's account of Euphron, tyrant at Sicyon from 368 to 366, appears to present him as a typical fourth-century , dependent on mercenaries and concerned solely with his own power. But why did Xenophon choose to recount Euphron's actions and fate at such length, and why does he insist so strongly that he was a tyrant? Xenophon's interest in Euphron is part of his general approach to tyranny in the Hellenica, which depicts a series of individuals and regimes, all described (...) as tyrannies. The model of tyranny with which Xenophon operates is broader and more inclusive than we would expect, contrasting with the narrow, constitutional idea of tyranny defined by Aristotle. Understanding this has two consequences. It allows us to appreciate Euphron in a new light, giving credit to the positive tradition about his support for the Sicyonian democracy and his posthumous heroization; we can see the debate which existed in his own time about his role and position. It also raises the question of why Xenophon recognized tyranny in so many places, and was so keen to emphasize his construction of these regimes. We need to situate him within the evolution of ideas about tyranny, since the concept of tyranny is largely constructed by historians: Herodotus tyranny in the aftermath of the Persian Wars, while Thucydides developed the concept from the individual to the general, as this better fitted his Athenocentric model. Xenophon, in contrast, was reflecting contemporary debates over the interpretation of different types of ruler and regime, and developing his own theory of tyranny. Therefore to see a movement in the fourth century is misplaced: an examination of Euphron reveals the complexities of self-presentation in fourth-century Greek politics. (shrink)

En el presente artículo nos proponemos reconocer y analizar el uso de la técnica de la ring-composition o estructura anular en los cantos corales de Antígona de Sófocles en relación con los elementos de los cultos eleusino y dionisíaco que atraviesan la obra. Nuestra hipótesis consiste en que, lejos de ser un factor de mera articulación formal, la ring-composition cumple con una función dramática pues cohesiona, con su juego de paralelismos, las alusiones a los misterios con el fin de presentar (...) la acción como un ritual iniciático fallido. En esta primera parte trataremos el marco general de análisis y el canto de entrada del coro. (shrink)