The wolf, the lamb, and the big "Oh!": voids, (w)holes, and epitaphic emptiness in Frances Burney's Hubert de Vere.

This essay explores the character of Cerulia in Frances Burney's dramatic play, Hubert de Vere, composed and revised in the 1790s, yet never published or staged in Burney's lifetime. Cerulia seems to eschew any easy dramatic categorization, as she cannot be identified with the heroine of the play. Undeniably, she is a victim, but of whom/what, we may wonder? Does attempting to define the nature of the hamartia of which Cerulia remains victim lead the "ideal" reader/viewer toward either fate/the gods or, rather, social apparatuses? And, finally, what about the eponymous protagonist Hubert de Vere? Is it correct to identify de Vere as the actant "hero", or perhaps as per the sub-category "villain hero" so popular in late eighteenth-century dramas? Burney's adroit exploitation of tropology and literary allusion in Hubert de Vere will be at the centre of this essay. In particular, I will examine the last act of the play, where the themes of confinement, imprisonment, and escape take on tragic hues. Though unpublished until 1995, these scenes are among the most vivid and, indeed, the most shocking Burney ever wrote. It is my contention that a long overdue appraisal of female characterisation in Hubert de Vere can shed novel light -at once both disturbing and liberating- on Frances Burney's oeuvre at large.

Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators.

Background: Ancient Greek tragedy remains today a special dramatic genre that expresses the concept of the classic through time, perhaps better than any other form of art and culture, representing, as a theatrical expression, the vision of the conception and expression of values of a particular era. In this context, the purpose of the present research is to study the humanitarian values of European culture, as they are expressed in ancient Greek drama, and to highlight the way in which these values are projected through modern drama and are impressed on the spectators. Methods: To achieve this goal, 105 spectators watched the tragedy of Aeschylus 'Seven against Thebes' directed by Cesaris Grauzinis and answered, both immediately after watching the performance and six months later, a questionnaire, in order to record their opinions about the theatre performance they had attended. Results: According to the findings of the comparative analyses, it emerged that the messages and values governing the work remain unchanged for its viewers over time. The memory is based on original audio-visual elements and directorial findings, confirming that it preserves the messages of the symbolism of the performance as well as the channels through which they were conveyed to the audience. Conclusions: The correspondences between the past and the present, as well as the contrasts on stage, contributed to the reproduction of the fundamental moral values that the dramatic work brought, highlighting the work and messages of Aeschylus.

"Look At It Carefully Now": Athenian Tragedy And The "Talking Cure".

It is often suggested that the Greek tragedians present clinically credible pictures of mental disturbance. For instance, some modern interpreters have compared the process by which Cadmus brings Agave back to sanity in Euripides' Bacchae with modern psychotherapy. But a reading of medical writers' views on the psychological dimension of medicine offers little evidence for believing that these scenes reflect the practices of late fifth-century Athenian doctors, for whom verbal cures are associated with older traditions of non-rational thought, and thus are scorned in favor of more "scientific cures" based on diet or medication. This paper will argue that Athenian tragedians, working from older traditions that advocated verbal cures for some mental ailments, do understand the potential psychological effects that their work can have on audiences, since tragedy requires psychological interaction with its audience in order to be effective. From a close reading of select scenes in Euripidean tragedy, this paper suggests that the experiences of the characters who experience suffering in Euripides' Heracles and Bacchae are analogues of the experiences undergone by the spectators of tragedy at large. Parallels are made between the way that Agave and Heracles are both talked back to sanity by looking upon what has happened, and the way that tragedians make their audiences observe lamentations and meditations that follow the central tragic act, to help them return from the intense emotion provoked, perhaps, by the violence they have seen.

Reflexões sobre a formação do indivíduo: considerações sobre a ideia de compaixão / Réflexions sur la formation de l'individu: remarques sur l'idée de compassion / Reflexiones sobre la formación del sujeto: consideraciones acerca de la idea de la compasión / Reflections on the formation of the individual: considerations about the idea of compassion

Este ensaio tem como objetivo apresentar e discutir alguns aspectos do conceito de compaixão na filosofia da chamada Teoria Crítica da Sociedade e na tragédia grega na tentativa de compreender os significados e as formas a ele atribuídos. O intuito é chegar aos aspectos relacionados com a formação social dominante, indagando como se configuram as relações humanas, o processo de sociabilidade e a ideia de experiência. Para essa discussão, o texto está dividido da seguinte forma: será feita uma breve introdução do tema com base em alguns escritos de Horkheimer e Adorno; em seguida, serão discutidas as ambiguidades e contradições atribuídas ao conceito de compaixão; serão apresentados alguns episódios presentes nas tragédias gregas nas quais o sentimento de compaixão aparece. E, finalmente, serão discutidos aspectos relacionados com a formação social dominante no contexto da sociedade de massas.

Cet article a comme but présenter et discuter quelques aspects du concept de compassion dans la philosophie connue comme Théorie Critique de la Société et dans la tragédie grecque en essayant de comprendre les significations et les formes qui lui sont attribuées. La recherche veut arriver aux aspects liés à la formation sociale en demandant comment sont configurés les relations humaines, le processus de sociabilité et l'idée d'expérience. Le texte est présenté en trois parties : 1. une brève introduction au sujet par la philosophie de Max Horkheimer et Theodor Adorno ; 2. ensuite, on discutera des ambiguïtés et contradiction du concept de compassion - ils seront présentés quelques épisodes présents dans la tragédie grecque où le sentiment de compassion apparaît ; 3. à la fin, on traitera des aspects de la formation sociale dans le contexte de la société de masses.

Este ensayo tiene como objetivo presentar y discutir algunos aspectos del concepto de compasión en la filosofía de la Teoría Crítica de la Sociedad y en la tragedia griega, en un intento de comprender los significados y formas que se le atribuyen. El objetivo es llegar a los aspectos relacionados con la formación social dominante, preguntando acerca de cómo se establecen las relaciones humanas, el proceso de la sociabilidad y la idea de la experiencia. El texto se divide de la siguiente manera: una breve introducción del tema basándose en algunos escritos de Horkheimer y Adorno; una discusión de las ambigüedades y contradicciones atribuidas al concepto de compasión y una presentación de algunos episodios en las tragedias griegas en las que se evidencia el sentimiento de la compasión. Finalmente, se discuten los aspectos relacionados con la formación social dominante en el contexto de la sociedad de masas.

This study aims to present and discuss some aspects of the concept of compassion in the philosophy of the Critical Theory of Society and in Greek tragedy, in  an attempt to understand the meanings and forms attributed to it. The aim is to reach the aspects related to the dominant social formation, inquiring about how human relations are configurated, the process of sociability and the idea of experience. The text is divided as follows: a brief introduction of the topic based on some writings by Horkheimen and Adorno; a discussion of the ambiguities and contradictions attributed to the concept of compassion, presenting a few episodes in Greek tragedies in which the feeling of compassion appears. And finally we will discuss the aspects related to the dominant social formation in the context of mass society.

ILLUSION, DISILLUSION, AND IRONY IN PSYCHOANALYSIS.

The author draws a parallel between an analyst listening to a patient and a member of an audience watching a play. In both situations, it is important to be able to adopt a dual identity in order to participate in the action through identification and then to withdraw from the identification to adopt the position of an observer. The author discusses two plays, Ibsen's The Wild Duck (1884) and Sophocles's Oedipus the King (5th century BC, a), and concludes that an ironic attitude to these works can help the spectator to adopt these dual identities and to recognize the value of truth, while at the same time appreciating that reality can be harsh and sometimes unbearable. A similar ironic vision in relation to his patients can enable the analyst to retain a respect for truth alongside a sympathetic awareness of the need for illusion.

El empuje a la mujer en Heracles de Euripides: un abordaje psicoanalítico de la tragedia griega / Push towards women in Euripides Heracles: a psychoanalytic approach to greek tragedy

En la tragedia Heracles de Eurípides, el héroe enloquece y mata a su esposa e hijos. La riqueza de la descripción de los síntomas de la locura, junto con el uso de terminología médica, ha generado que se hayan interesado en la obra estudiosos desde la crítica filológica, la medicina y el ámbito psicológico. Por lo cual en el presente artículo presento el cuadro sintomatológico y luego recupero los diagnósticos realizados por diversos autores que van desde la Antigüedad a la actualidad, y también elaboro un diagnóstico en términos psiquiátricos. A continuación determino un diagnóstico psicoanalítico y realizo un estudio comparativo entre Heracles y Schreber, caso analizado por Freud y Lacan, que permite ahondar en la cuestión de la feminización como un rasgo común de la locura en una tragedia del siglo V a. C. y un jurista del siglo XIX.

In Euripides\' tragedy Heracles, the hero goes mad and kills his wife and children. The richness of the description of the symptoms of madness, along with the use of medical terminology, have captured the scholars\' interest in the field of philological criticism, medicine and psychology. Therefore in this article I present a table of symptoms and then recover the diagnoses made by various authors from antiquity to the present times. I also make a diagnosis on psychiatric terms. Then I determine a psychoanalytic diagnosis and make a comparison between Heracles and Schreber -case analyzed by Freud and Lacan- so as to deepen the issue of feminization as a common trait of madness in a tragedy of the V century b. C. and a lawyer of the nineteenth century.

PARRHESIA, PHAEDRA, AND THE POLIS: ANTICIPATING PSYCHOANALYTIC FREE ASSOCIATION AS DEMOCRATIC PRACTICE.

This essay explores the mostly unexamined analogy of psychoanalytic free association to democratic free speech. The author turns back to a time when free speech was a matter of considerable discussion: the classical period of the Athenian constitution and its experiment with parrhesia. Ordinarily translated into English as "free speech," parrhesia is startlingly relevant to psychoanalysis. The Athenian stage-in particular, Hippolytus (Euripides, 5th century BCE)-illustrates this point. Euripides's tragic tale anticipates Freud's inquiries, exploring the fundamental link between free speech and female embodiment. The author suggests that psychoanalysis should claim its own conception of a polis as a mediated and ethical space between private and public spheres, between body and mind, and between speaking and listening communities.

Medea by Euripides: psychic constructions for preverbal experiences and traumas.

The author introduces Euripides's Medea as a metaphor of the psyche's attempt to express and symbolize preverbal, unrepresented experiences and wounds visited upon it before there was any word for trauma. He suggests that Medea, the wild foreigner whose murderous magic is unleashed when the facilitating environment betrays her, could be thought of psychoanalytically as the deepest uncharted realms of primitive, traumatized existence yearning to find a way to represent itself on the stage of language and reality. Euripides can help us understand this deep realm of the psyche, with which psychoanalysis also grapples; he presents the realization of an object that traumatically fails to contain preverbal elements and transform them.

Psicanálise e tragédia grega: estéticas do conflito / Psychoanalysis and greek tragedy: aesthetics of conflict / Psicoanálisis y tragedia griega: una conversación desde estéticas conflictivas

Na tentativa de investigar as possíveis relações entre psicanálise e tragédia grega, o presente estudo visa buscar aproximações entre as perspectivas estéticas que permeiam estes dois campos, baseando-se para tal na particular estética que compõe a arte trágica e no texto freudiano "Das Unheimliche" O percurso investigativo traçado demonstra que tragédia e psicanálise, ao se assentarem no ambíguo, delatam as faces nada harmônicas do homem, apontando, assim, para uma estética que dá lugar não apenas à harmonia bela, mas também ao horror que a ela se amálgama. Logo, os caminhos que cruzam estes dois discursos indicam a riqueza proporcionada pela interlocução entre si, renovando, desse modo, o seu interesse e sinalizando possíveis desdobramentos teórico-práticos.

In an attempt to research the possible connections between psychoanalysis and Greek tragedy, the present study aims to seek similarities between the aesthetic perspectives which permeate these two fields, basing itself, to this effect, on the particular aesthetics which composes the tragic art and on the Freudian text "Das Unheimliche". The investigative route shows that tragedy and psychoanalysis, due to their ambiguous nature, denounce non-harmonious facets of man, thus pointing to an aesthetics that gives rise not only to beautiful harmony, but also to the horror with which it amalgamates. Therefore, the paths which cross these two discourses point to the wealth offered by the dialogue between them, thereby renewing their interest and signaling potential theoretical and practical developments.

En un intento de investigar la posible relación entre el psicoanálisis y la tragedia griega, este estudio tiene como objetivo encontrar semejanzas entre las perspectivas estéticas que impregnan estos dos campos, utilizando como base para ello a la particular estética que compone el arte trágico y el texto freudiano "Das Unheimliche" La trayectoria de la investigación demuestra que la tragedia y el psicoanálisis, al tener sus bases en lo ambiguo, delatan las caras nada armónicas de los hombres, apuntando de esa forma para una estética que da lugar no sólo a la bella armonía, sino también al horror que en ella se amalgama. Posteriormente, las carreteras que atraviesan estos dos discursos señalan la riqueza que representa el diálogo entre ellos, renovando de esa forma su interés e indicando posibles evoluciones teóricas y prácticas.

O caos, o acaso e o trágico / The chaos, the hazard and the tragic

O trabalho discute a concepção de caos, de acaso e de trágico desde a Antiguidade Grega, passando pela filosofia trágica, até chegar à psicanálise.

This paper considers the concept of chaos, hazard and tragic, from the Ancient Greece, passing through the tragic philosophy, finally coming to psychoanalysis.

Ética, tirania e psicodrama / Ethics, tyranny and psychodrama

A partir de duas tragédias gregas, As bacantes, de Eurípedes, e Antígona, de Sófocles, o autor desenvolve um ponto de vista conceitual sobre a ética na prática psicodramática. Ética entendida como possibilidade de acolhimento das multiplicidades que constituem o próprio corpo conceitual da prática socionômica.(AU)

From two Greek tragedies, The Bacchae of Euripides and Sophocles' Antigone, the author develops a conceptual point of view on ethics in psychodramatic practice. Ethics understood as a possibility to receive the multiplicities that constitute the own set of conceptual practice of Socionomy.(AU)