Kazantzakis and the Penelopes
Kazantzakis y las Penélopes
| dc.creator | Kastrinaki, Anguela | |
| dc.date | 2007-01-01 | |
| dc.date.accessioned | 2020-07-14T14:38:44Z | |
| dc.date.available | 2020-07-14T14:38:44Z | |
| dc.identifier | https://byzantion.uchile.cl/index.php/RBNH/article/view/18433 | |
| dc.identifier.uri | https://revistaschilenas.uchile.cl/handle/2250/140758 | |
| dc.description | The analysis of Kazantzakis' treatment of female characters in his work does not reveal a positive attitude towards them. In Penelope's case, the appearances of Ulysses' famous wife are clearly negative. In Broken Souls, 1908, a youth work, Penelope is not a character of the work itself, but is seen in a picture by Gustave Moreau. She is described as she appears in the painting, i.e. as an immoral and lecherous being. In the dramatic work Odysseus, 1922, the old Penelope decides to marry, allegedly under orders from Aphrodite. However, the truth is that she is disguising her own desire, which is focused on the beautiful suitor Eurimachus, as if it were an act of obedience to the goddess. She is not portrayed as a faithful and truthful woman. In the Odyssey, 1924-1938, the dark image of an already faded and timorous woman contrasts with that of the husband, who arrives strong, graceful and triumphant. The woman, who does not act nor speak, but only cries, shows also a contrast to the female images of the time at which the poem was written, a time of great advacne to equality for women. | en-US |
| dc.description | El examen del tratamiento de los personajes femeninos en la obra de Kazantzakis, no revela una actitud positiva hacia ellos en el escritor. En el caso de Penélope, las presentaciones de la famosa esposa de Ulises son acendradamente negativas. En la obra juvenil Almas rotas, 1908, Penélope no es un personaje de la obra misma, sino que es vista en un cuadro de Gustave Moreau. Se la describe como aparece en la pintura, es decir, como un ser inmoral y lujurioso. En la obra teatral Odiseo, 1922, la antigua Penélope decide casarse por órdenes - dice - de Afrodita. Pero en realidad, disfraza su deseo, concentrado en el bello pretendiente Eurímaco, lo disfraza con pretendida obediencia a la diosa. No es una mujer ni fiel ni verídica. En la Odisea, 1924-1938, la imagen oscura de una mujer marchita ya y temerosa, contrasta con la del esposo que llega, fuerte, gallardo, triunfante. La mujer, que no actúa ni habla y sólo llora, contrasta también con la mujer de la época en que se escribió el poema, tiempo de gran avance de la mujer hacia la igualdad. | es-ES |
| dc.format | application/pdf | |
| dc.language | spa | |
| dc.publisher | Universidad de Chile. Facultad de Filosofía y Humanidades | es-ES |
| dc.relation | https://byzantion.uchile.cl/index.php/RBNH/article/view/18433/19462 | |
| dc.source | Byzantion Nea Hellás; Núm. 26 (2007); Pág. 197-206 | es-ES |
| dc.source | 0718-8471 | |
| dc.source | 0716-2138 | |
| dc.title | Kazantzakis and the Penelopes | en-US |
| dc.title | Kazantzakis y las Penélopes | es-ES |
| dc.type | info:eu-repo/semantics/article | |
| dc.type | info:eu-repo/semantics/publishedVersion |
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Byzantion Nea Hellás
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