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London, United Kingdom
Investigadora en el Instituto de Estudios Medievales y Renacentistas de la Universidad de Salamanca y en el Centro de Estudios Clásicos y Humanísticos de la Universidad de Coimbra. Doctora en filosofía por la Universidad de Salamanca (Febrero de 2008). Autora de cinco libros: "Una revolución hacia la nada" (2012), "Don Quijote de la Mancha: literatura, filosofía y política" (2012) "Destino y Libertad en la tragedia griega" (2008), "Contra la teoría literaria feminista" (2007) y "El mito de Prometeo en Hesíodo, Esquilo y Platón: tres imágenes de la Grecia antigua" (2006). Ha publicado varios trabajos en revistas académicas sobre asuntos de literatura, filosofía y teoría literaria. En su carrera investigadora ha trabajado y estudiado en las universidades de Oviedo, Salamanca y Oxford. Fundamentalmente se ha especializado en la identificación y el análisis de las Ideas filosóficas presentes en la obra de numerosos clásicos de la literatura universal, con especial atención a la literatura de la antigüedad greco-latina y la literatura española.

No es que esto sea Ítaca, pero verás que es agradable

No es que esto sea Ítaca, pero verás que es agradable

Si amas la literatura y adoras la filosofía, éste puede ser un buen lugar para atracar mientras navegas por la red.
Aquí encontrarás acercamientos críticos de naturaleza filosófica a autores clásicos, ya sean antiguos, modernos o contemporáneos; críticas apasionadas de las corrientes más "totales" del momento: desde la moda de los estudios culturales hasta los intocables estudios "de género" o feministas; investigaciones estrictamente filosóficas sobre diversas Ideas fundamentales y muchas cosas más. Puede que hasta os echéis unas risas, cortesía de algún autor posmoderno.
Ante todo, encontraréis coherencia, pasión, sinceridad y honestidad, antes que corrección política, retóricas complacientes y cinismos e hipocresías de toda clase y condición, pero siempre muy bien disimuladas.
También tenemos la ventaja de que, como el "mercado" suele pasar de estos temas, nos vengamos de él hablando de algunos autores con los que se equivocó, muchísimos, ya que, en su momento, conocieron el fracaso literario o filosófico y el rechazo social en toda su crudeza; y lo conocieron, entre otras cosas, porque fueron autores muy valientes (son los que más merecen la pena). Se merecen, en consecuencia, el homenaje de ser rehabilitados en todo lo que tuvieron de transgresor, algo que, sorprendentemente, en la mayoría de los casos, sigue vigente en la actualidad.
En definitiva, lo que se ofrece aquí es el sitio de alguien que vive para la filosofía y la literatura (aunque, sobre todo en el caso de la filosofía, se haga realmente duro el vivir de ellas) y que desea tratar de ellas con respeto y rigor, pero sin perder la gracia, porque creo que se lo debemos, y si hay algo que una ha aprendido de los griegos es, sin duda, que se debe ser siempre agradecido.

martes, 6 de octubre de 2015

Prometheus


In this article, I intend to present a comparative lecture of three of the most fundamentals versions of Prometheus Myth, the hero (or villain, it depends on the one you ask to) that stole the fire, as a technical resource, from the gods to give it as salvation to the mankind.

Our first stop must be Hesiod and his perspectives of the myth in "Theogony" and "Works and Days". In his works, the use of this myth serves to reassure the importance of Zeus as vigilante of Cosmos and Justice. Zeus itself embodies the order and the Justice and he gives us for granted the reward that comes from a quiet, hard-working and devoted life. Prometheus is a rebel that fooled the Gods. His attempt for improving human life by stealing and defeating the divine laws and powers only could bring suffering and disgrace (Pandora and the necessity of hard work). The technical knowledge only can bring misery and pain to the mankind. Prometheus is a real sample of the dangers that comes along with pride and impiety. Hesiod, as every other writer, was a son of his times. Technology had just begun its development and the poet is not able to face the changes that the new classes of artisans and traders was about to bring to Greece. Prometheus doesn't fit in the old school view of the world, he meant a violent irruption, embodying the radical new ways in politics and production, and the radical social and economic differences that came from those. He is seen as the root of every evil, and nothing  more evil than the hunger of knowledge and progress, moreover if this hunger breaks through undermining the gods will. Prometheus is the revolution of the technicians and Hesiod was right when he foresaw that this was going to lead to multiple alterations, alterations that, obviously, he disliked. Actually, the importance that the tyrants were about to give to traders and artisans will eventually change forever the western world, and this take us straight to the tragic version of the Myth, because when the revolution reaches the political structure, the tragedy becomes the most powerful Greek tool to look for the answers or, at least, to deal with the questions.

Only one play remains from the trilogy that Aeschylus dedicated to Prometheus (I defended in my first book the thesis of Aeschylus as original author of the "Prometheus bound"). We are now in the fifth century, in the climax of Athenian democracy and pan-Hellenic euphoria, after the Persian war. In Aeschylus age, the hesiodic fears became one of the main roles in the new political organization (is with the tyrants when the future democratic mentality starts to be shaped), and these new circumstances were asking for a new order: Democracy. Prometheus still is a rebel that took the wrong way but he is not evil, he is the solution, the answer, the new class fighting for the necessary changes that needed to be promoted. Prometheus faces Zeus absolute power, he faces a God that pretends mankind to remain ignorant, a puppet on the god's strings. Zeus is wrong, so does Prometheus. Both must learnt, that's the aeschilean dialectics: there is always a third path. Prometheus must learn that there is another way to grant the progress (not tyranny but democracy), a way supported by the law, not forced by revolutions, crazy, stubbing and suicidal way, as Prometheus is about to find out by himself. Zeus must learn indeed that his power requires a fair and moderate execution, or will come to an end (yes, even the gods can fall if they don't learn). Zeus and Prometheus must work together, the old world must deal with the new times in order to the foundation of a new order, a new state. This conciliation is on the basis of the new democratic system. Prometheus is only a mandatory stop in the journey, and democracy is going to configure everything like if was new, with unknown meanings and senses: gods, laws, myths, costumes, rights, freedoms, war...

Now that we have the political and tragic answer to the myth, is time for the philosophers to speak out their minds, here comes Plato and his "Protagoras". Prometheus stole the fire, it is true, but this was never the key to human survival, not at least in Plato's era, now the things  are complicated so far. Plato lived in a consolidated democracy and Prometheus is not as useful as he was any more. Now his heroism is anecdotal, he brought indeed the technical knowledge but this is not enough. The technical wisdom and the arts are now perfectly assimilated by the democratic system and the philosophers are in a rush to find the key of the social and political perfection, inside (women, slaves, foreigners, citizens) and outside the borders of the City-State (Sparta and  and other political civilizations as the Persians). In this situation, the discover of fire is meaningless and now the political skills are the leading and urgent ones. In the platonic play his point against Protagoras is not about Prometheus, both agree in his loss of significance. The dialogue evolves into a political discussion: the political virtues, and not the technical skills, are the ones that are going to compromise the survival of the Athenian world's conception. The way of teaching and learning such skills, the way of making everyone involve in the "polis", is going to be the root of the conflict between philosophers and sophists. The technical skills are essential, it is true, but this is not the problem any more. Its meaning and social relevance and economic utility is settle down and now they need to get the same equilibrium and balance regarding the status of the citizenship, its meaning, its importance, its scope and range. Is at this point where the analysis is more urgent, because the govern of the City-State is not threatened by the technical power, now the enemy is the very politics itself, inside and outside (the right to be citizen, the politics of other empires and cities). And the enemies are so powerful that even the tragedy starts to focus on that topics (like Euripides and his concern  about those ones that are not being assimilated by the democratic system, that is Media's tragedy).

The myth of Prometheus is about the technical assimilation in the Greek world and about the evolution of its treatment depending on the social and political stages. In Hesiod, Prometheus, as the technical skills, is seen with fear and distrust, as long as is something new and revolutionary. In Aeschylus is a tyrannical hero that needs to learn the democratic ways to become part of the system. In Plato, we can say that they had another problems at the moment.

Always that the technology evolves fast and in threatening ways, the men turn their eyes to this myth, that constitutes a powerful tool in the reflection about science and its social consequences. It is not strange that another great version of the myth came along in the nineteenth century by the hand of Mary Shelley, but in complete accord with the hesiodic version, just a modern update on the old epic lecture. When mankind faces technical advances and science, the first answer is always full of fear (Hesiod, Shelley), but as we learnt from the Greeks, it becomes the moment when we need to put ourselves together and to give an answer to technical and scientific knowledge: a political answer (Aeschylus) or a philosophical one (Plato). At the end, the men, as political and social animals, need to assimilate every progress into a deeper consideration, where our own success as society lies down.

Science and technology are not evil tools but are not the ultimate answer as well. These are only essentials elements of our evolution, but are not the end of our problems or the close of our history, political and social. As humans, the answer that we demand is always a political and philosophical one, because there is always a moment, as Plato taught us, when we realize that scientific and technical progress are mere tools that require a further discussion about its use and meanings, and there will be always a fundamental question that remains the same time after time, although the circumstances may change: how can we build a righter and fairer society besides all the tools that we achieved in our journey? Schiller told us that the most advanced use of science, reason and technical abilities does not come hand by hand with the most fine society. Often, the men search for salvation in the wrong places. We still think that science and technology are the ultimate answers and we forget about philosophy. Bur the history always takes us back to Plato and the necessity of wondering about our political existence. The most essential question is still asking from us to do our best, and is a question that never will be obsolete: how do we take every tool, every skill, every advance, every knowledge, in order to learn to live with each other avoiding the most senseless destruction and brutality.

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