ABSTRACT Here we present the translation of the “Prologue” from María Zambrano’s work titled “La tumba de Antígona.” In the text, originally published in 1967, Zambrano redefines the myth of Antigone, giving the character a different destiny than the one presented by Sophocles in the classical version of the myth. According to Zambrano, after being entombed alive, the protagonist does not kill herself but undergoes a kind of anagnorisis, a self-recognition, which occurs as she engages in dialogue with the other characters in the story. Through deep reflections and some dialogues, Antigone starts contemplating her own condition and the way she has sacrificed herself throughout her journey to support and defend the lives and ideals of others, such as her father, the city, her brothers, her fiancé, and the king. Antigone finally manages to find time for herself, and it is in this possibility that she achieves what Zambrano calls poetic transcendence. The translated text here is the “Prologue” of Zambrano’s work, which announces an Antigone who turns what would have been her moment of decline, being buried alive, into a time of affirmation and self-recreation. Prologue “Prologue Maria Mari Zambranos s La Antígona. Antígona 1967 alive anagnorisis selfrecognition, selfrecognition self recognition, recognition self-recognition story dialogues others father city brothers fiancé king transcendence decline selfrecreation. selfrecreation recreation. recreation self-recreation 196 19 1

RESUMO Apresenta-se aqui a tradução do “Prólogo” da obra de María Zambrano intitulada La tumba de Antigona. No texto, publicado originalmente em 1967, Zambrano ressignifica o mito de Antígona, atribuindo à personagem um outro destino, diferente daquele apresentado por Sófocles na versão clássica do mito. Para Zambrano, depois de enclausurada ainda viva em sua tumba, a protagonista não se mata, mas executa uma espécie de anagnórisis, de reconhecimento de si, que acontece ao passo em que dialoga com os demais personagens da história. Através de longas reflexões e de alguns diálogos, Antígona passa a pensar sobre sua própria condição e no modo como abdicou de si ao longo da sua trajetória para apoiar e defender a vida e os ideais de outras pessoas, como o pai, a cidade, os irmãos, o noivo e o rei. Antígona consegue então finalmente ter tempo para si e é nessa possibilidade que realiza o que Zambrano nomeia de transcendência poética. O texto aqui traduzido, é o“Prólogo” da obra zambraniana, que anuncia uma Antígona que faz do que seria seu momento de declínio, ao ser enterrada viva, um tempo de afirmação e recriação de si. Apresentase Apresenta Prólogo Prologo Pro logo “Prólogo Antigona 1967 destino mata anagnórisis história diálogos pessoas pai cidade irmãos rei poética traduzido oPrólogo Prólogo o“Prólogo zambraniana declínio 196 19 1

RESUMEN Indudablemente, la película Hedwig and the Angry Inch establece un diálogo con la tesis del amor expuesta por Diotima de Mantinea en El Banquete de Platón, en el sentido de entender el amor como una aventura solitaria y de expansión primordialmente individual. Sin embargo, la película más que transvasar las ideas del filósofo griego, abre una discusión sobre su vigencia y actualidad en situaciones concretas como la identidad, la ideología y el género. Es por esto que en el filme la anagnórisis se convierte en anamnesis; la dialéctica es un agón, y la identidad, un devenir.

ABSTRACT Undoubtedly, the film Hedwig and the Angry Inch establishes a dialogue with the thesis of love exposed by Diotima of Mantinea in Plato's Banquet, in the sense of understanding love as a solitary adventure and primarily individual expansion. However, more than transferring the ideas of the Greek philosopher, the film opens a discussion about its validity and topicality in specific situations such as identity, ideology and gender. This is why anagnorisis becomes anamnesis in the film; dialectics is an agon, and identity, a becoming.

The following question is at stake: What entails forgiveness and reconciliation within processes of healing regarding schisms in a very diverse and polarised society? Despite the work of the Truth and Reconciliation Commission the burning question that still prevails: What is meant by a praxis of forgiveness and a spirituality of reconciliation within a post-apartheid dispensation? It is argued that forgiving and reconciling are not instant or merely 'handsome pardoning'. Both are embedded in processes of reaching out to the pain and hurt of the other. As a process, forgiveness starts with self-acknowledgement and should manifest in modes of compassionate being-with and diaconal acts of reaching out, creating spaces of 'mystical encounters'. In this regard, the notion of anagnorisis, as captured by narrating the encounter between Joseph and his brothers, should be read as an exemplification of reconciliation, directed by the missio Dei, promissio Dei and passio Dei. Within a Christian paradigm, Ernst Bloch's notion of docta spes, very aptly captures the core of pastoral, reconciliatory care: Hope care to the human soul (nēphēsh) - the search for life and meaning. 'Dum spiro - spero' [While I Breathe, I Hope]. CONTRIBUTION: It is often the case that reconciliation is viewed as an instant event. The case of Joseph and his brothers illustrates the fact that reconciliation is in fact a mode of life, embedded over many years. In this way, reconciliation could be rendered as part of one's life story; as a mode of journeying through life, exemplifying the how of authentic human encounters. Reconciliation then becomes an ontic feature of relational integrity and indication of the quality of the human soul: Habitus as feeling from the hurt being of the other.

Abstract: The institutional design of the Chilean judicial branch meets the conditions to affect judicial impartiality. This is because it establishes a highly discretionary judicial career system, where it is the personal interest, and not the legal reasons, that moves the judge. Incentives and punishments predetermine the behavior of judges at the expense of the jurisdiction, without requiring an express request or order, because the system itself indicates to the judges how they should act to have a successful career and avoid punishment. This promotes the loss of impartiality of the judge because the object of the process is not indifferent for him, since it is the means to ascend within the judicial organization.

Resumen: El diseño institucional del Poder Judicial chileno reúne las condiciones para afectar la imparcialidad judicial. Ello se debe a que establece un sistema de carrera funcionaria altamente discrecional, donde es el interés personal, y no las razones del derecho, lo que mueve al juez. Los incentivos y castigos predeterminan el comportamiento de los jueces en desmedro de la jurisdicción, sin que sea necesaria solicitud u orden expresa porque el propio sistema señala a los jueces cómo deben actuar para tener una carrera exitosa y evitar el castigo. Esto promueve la perdida de imparcialidad del juzgador porque el objeto del proceso no le resulta indiferente al juez, dado que es el medio para ascender dentro de la organización judicial.

Resumen: En el verso 234 de Suplicantes de Esquilo, el coro de Danaides se encuentra con el primero de sus antagonistas, el rey de Argos. Pelasgo resulta ser la verdadera figura alternativa al coro, ya que es varón y griego. La composición de dicho antagonismo es provocativa, pues se trata de opuestos dentro del marco de la amistad. En este artículo pretendemos analizar la primera parte de la escena sobre el arribo de Pelasgo (vv. 234-325), que constituye una escena de anagnórisis.

Abstract: In Aeschylus’ Supplices 234, the chorus of the Danaids comes across with the first of its antagonists, the king of Argos. Pelasgus turns out to be the true alternative figure to the chorus, since he is male and Greek. The composition of such antagonism is provocative, because it deals with opposites within the framework of friendship. In this article we aim to analyze the first part of the arrival scene of Pelasgus (vv. 234-325), that constitutes an anagnorisis scene.

La Posmodernidad, desde el gesto de la revisitación y la reescritura, retoma y deconstruye los géneros tradicionales, los estereotipos, los sentidos violentados, cuestionándoles e hibridándolos. Dentro de estos juegos de visitas e invitados, la reescritura vuelve a problematizar, entre otros, la mirada sobre los géneros canonizados y reglados. Massimo Cacciari (1999) señala en El archipiélago, cuando explica la tesis de su libro: "En el hospes vive siempre el hostis, y en el hostis el hospes. Son dos verdaderas dinámicas que se entrelazan, no dos estados" A estas dos dinámicas intentaremos atender, entendiendo a los textos seleccionados como a la sub-versión del hostis, aquel que, hospedado por el Logos, ha debido identificarse (in-diferenciarse) con aquél durante siglos (la historia de la Cultura) y no ha podido apartarse lo suficiente como para alcanzar un estado de "diferenciación" hasta el presente posmoderno. Los personajes de los cuentos de hadas, (en el caso particular del presente trabajo nos centraremos exclusivamente en "Caperucita roja") figuras estereotipadas, portadoras de una carga simbólica-imaginaria, se ven inmersos, dentro del contexto de la Posmodernidad, en un juego deconstructivo que desbarata los límites del sentido fijo que el mito les ha impuesto, experimentan el pasaje de una visión Una a una visión Otra. Es así que, algunos textos, dentro de las producciones posmodernas, recurren a la deconstrucción de las figuras simbolizadas por los discursos medievales (y/o legendarios), portadoras de un sentido mítico-unívoco; ellas se verán sujetas a una revisitación que las inscribe en un espacio a-lógico.

By revisiting and rewriting texts, Postmodernism goes back to and deconstructs traditional genres, stereotypes, and distorted meanings, questioning and hybridizing them. Considered as a game of visitors and guests, rewriting questions, among others, the way of considering canonized and established genres. In El archipiélago (The Archipelago) (1999) Massimo Caccari points out, when explaining the thesis of his book: "In hospes there always lives hostis, and in hostis, hospes. They are not two different states but interwoven dynamics". We will try to pay attention to these two dynamics, understanding the selected texts as a subversion of the hostis, that one which, located in the Logos, had to identify itself with it for centuries (the whole history of culture) and, until present postmodernism, could not take enough distance as to reach a state of "differentiation". The characters of fairy tales (in this article we will only focus into "Little Red Riding Hood") stereotyped figures that carry a symbolic-imaginary load, are immersed in a deconstructive game which demolishes the limits of the fixed meaning that myth has imposed them. In that sense, they go from a modern perspective to a postmodern one. The consequence is that some postmodern works deconstruct the characters created by Medieval (and/or legendary) discourses, which carry a univocal mythical meaning. So, they will be revisited, which means that they will be introduced into a non-logical space.

RESUMO Este texto conjuga reflexões teórico-teatrais que vão desde Aristóteles até o teatro pós-dramático, passando por Brecht e Schiller. Trata-se aqui de preocupações pedagógicas acerca do sentido e dos rumos que pode e deve tomar o teatro infantojuvenil atual. Discute-se o teatro infantojuvenil a partir das transformações que a obra teatral sofreu em sua estética e em seu próprio conceito ao longo do século XX. Propõe-se o abandono da pretensa função didática que havia sido atribuída tradicionalmente ao teatro infantojuvenil.

ABSTRACT This text combines theoretical-theatrical reflectionsranging from Aristotle to post-dramatic theatre, going through Brecht and Schiller. It deals with thepedagogical concerns about themeaning and paths that the current children and youth theatre couldand should take. It also discusses children and youth theatre, basedon the transformations that theatrical works undertook intheir aesthetics and in their own concept over the twentieth century. We propose to abandon the alleged educational function that hadtraditionally been attributed to children and youth theatre.

RÉSUMÉ Ce texte présente une réflexion théorico- théâtrale allant d'Aristote jusqu'au théâtre post-dramatique, en passant par Brecht et Schiller. Il traite des questions pédagogiques qui s'articulent autour du sens et des directions que peut et doit prendre actuellement le théâtre jeune public. Celui-ci est abordé à partir des transformations subies par l'œuvre théâtrale, à la fois dans son esthétique et dans son concept même, tout au long du XXème siècle. L'auteur propose ainsi d'abandonner la prétendue fonction didactique traditionnellement attribuée au théâtre jeune public.