Ni tan fiel ni tan zorra: Penélope y Helena en la literatura actual.
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Escuela de Letras. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
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Las figuras de Helena y
Penélope se hallan históricamente unidas
por la guerra de Troya, vinculada
la primera con el origen del conflicto y
sus desgracias y con la época de la
posguerra, la segunda. La tradición las
fijó como modelos antitéticos de mujer -
la casta, prudente y fiel esposa de Odiseo
en oposición a su bella, frívola e infiel
prima- aunque ya desde la antigüedad
existieron tradiciones que afirmaban que
ni una fue tan fiel ni la otra estuvo tan
alejada de la castidad. Pero es a partir del
siglo XX que numerosos autores se han
propuesto rescatarlas de su situación de
víctimas de una historia contada por
hombres y dan voz a estas heroínas
míticas. La intención de este trabajo es,
partiendo de las figuras clásicas, rastrear
su presencia en el teatro argentino y
español contemporáneos- género en el
que se dan las recreaciones más
interesantes, exponentes de una nueva
Penélope no dispuesta a sufrir la soledad
absoluta ni a seguir siendo la sombra
dolorida de un héroe, y de una Helena
que reclama el derecho a elegir las
palabras que narren su historia.
The roles of Helen of Troy and Penelope are united historically by The Trojan War. The first one is connected to the origin of the conflict and her misfortunes, the second one to the post-war period. Tradition established them as antithetical model roles -the pure, wise and faithful wife of Odysseus in opposition to her beautiful, shallow and unfaithful cousin. Since old times there were traditions which claimed the relativity of their roles in connection to purity and faithfulness. In the 20th century, numerous writers have proposed to rescue them from their victim roles as the stories were told and spoken by men. The purpose of this paper is to take the classical characters, trace their presence in contemporary Argentinian and Spanish theatre plays. This genre provides the most interesting recreations and exponents of a new Penelope who is not willing to suffer absolute loneliness nor being the aching shadow of a hero. Helen also claims for her right to choose the words which tell her story.
The roles of Helen of Troy and Penelope are united historically by The Trojan War. The first one is connected to the origin of the conflict and her misfortunes, the second one to the post-war period. Tradition established them as antithetical model roles -the pure, wise and faithful wife of Odysseus in opposition to her beautiful, shallow and unfaithful cousin. Since old times there were traditions which claimed the relativity of their roles in connection to purity and faithfulness. In the 20th century, numerous writers have proposed to rescue them from their victim roles as the stories were told and spoken by men. The purpose of this paper is to take the classical characters, trace their presence in contemporary Argentinian and Spanish theatre plays. This genre provides the most interesting recreations and exponents of a new Penelope who is not willing to suffer absolute loneliness nor being the aching shadow of a hero. Helen also claims for her right to choose the words which tell her story.
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