OAI Archive: Research Repository of Catalonia

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100 entries most recently downloaded from the archive "Research Repository of Catalonia"

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  1. Francesc Sidera Caballero & Anna Amadó Codony, Children's Understanding of Pretend Emotions.
    This preliminary study aims to investigate children’s ability to understand that the emotional expressions that occur in pretend play do not necessarily coincide with the emotions people feel inside. Previous research has found that children aged 4 and 6 have difficulty to distinguish between the external and the internal emotion of a character who pretends an emotion. In the present work, thirteen 4-year-olds and eight 6-year-olds were administered stories in which a character simulated an emotion. Differently from previous research, the (...)
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  2. Anna Amadó Codony, Elisabet Serrat Sellabona & Francesc Sidera Caballero, Developmental Readiness in the Understanding of Own and Other's False Beliefs.
    One of the most important milestones in the development of theory of mind is the understanding of false beliefs. This study compares children’s understanding of representational change and others’ false beliefs and evaluates the effectiveness of an appearance-reality training for improving children’s false belief understanding. A total of 78 children ranging in age from 41 to 47 months were trained in three sessions and evaluated in a pretest and in a posttest. The results show that for children it is easier (...)
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  3. Marc Artiga Galindo, Learning and Selection Processes.
    In this paper I defend a teleological explanation of normativity, i. e., I argue that what an organism (or device) is supposed to do is determined by its etiological function. In particular, I present a teleological account of the normativity that arises in learning processes, and I defend it from some objections.
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  4. Pau Gilabert Barberà, Miguel de Unamuno and Heraclitus: From 'The Eternal Elegy' ('La Elegía Eterna') to 'The Cut Flower'('La Flor Tronchada').
    The aim of this brief article is to demonstrate and analyze the influence of Heraclitus’s thought on some of the poems written by Miguel de Unamuno, in particular ‘La elegía eterna’ and ‘La flor tronchada’. At times –as in ‘La elegía eterna’– Heraclitus merely serves as a sort of a walking stick, an aid to his efforts to poetically reveal his anxieties. On other occasions –as in ‘La flor tronchada’– he genuinely needs Heraclitus’s philosophy to illustrate his view of human (...)
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  5. Pau Gilabert Barberà, John Addington Symonds.
    It is certainly astonishing that an innovating study about the Greek pederasty in England like the one by John Addington Symonds does not quote Plutarch's Eroticus -in fact, it is only cited in some footnotes-, if one bears in mind that this dialogue is an accurate philosophical reflection on Greek eros, in which very often significant ethical themes are approached. The aim of this article is just to reveal the different reasons for such an omission.
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  6. Pau Gilabert Barberà, New York Versus Tragedy and Oedipus.
    Beyond the explicit reference to the Greek tragedy and Oedipus, the aim of this article is to show the clear relationship, in the author's opinion, between what the protagonists of the film maintain and the theories of the Greek Sophists about God, the law, etc. An accurate analysis both of their texts and the screenplay of Crimes and Misdemeanors reveals different sophistic roots, which, in this case, cannot be attributed to the constant presence of the Jewish legacy in W. Allen's (...)
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  7. Pau Gilabert Barberà, Greek Misogynist Tradition in Andreas Capellanus's De Amore.
    The title of this brief article quite clearly illustrates its aims and evident limitations. In principle, a search for a Greek basis of the misogynist content of Andreas Capellanus's De amore is likely to lead researchers to focus on analysis of the sources -Greek sources, of course. However, there is no doubt that Ovid, the most frequently quoted ancient author, in this case the structural source, above all his Ars Amatoria, Remedia Amoris and Heroides, which is quite logical in light (...)
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  8. Pau Gilabert Barberà, Billy Budd: From H.
    The aim of this article is to propose and lay the foundations of a Plutarch's way ¿not only his Lives but also his Eroticus- to the Platonic content of Billy Budd by B. Britten with a libretto by E. M. Forster in association with Eric Crozier. Plutarch is not quoted in H. Melville¿s novel, but E. M. Forster¿s good knowledge of the texts by the Greek writer and philosopher makes this hypothesis quite credible.
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  9. Pau Gilabert Barberà, Poison Without Antidote for the Historical Socrates and French Classical Tragedy in El Verí Del Teatre (The Poison of the Theatre) by Rodolf Sirera.
    Socrates' serene attitude before his death -although this is questioned-, as described by Xenophon in his Apologia Socratis becomes for the playwright Rodolf Sirera a useful reference in an effort to reflect boldly on the limits of theatrical fiction in another clear example of the Classical Tradition, including that derived from Baroque Tragedy. However, in this case, it is judged severely to make us more conscious of the risk of turning life into a mere theatrical performance and human beings into (...)
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  10. Pau Gilabert Barberà, Leaving the Cave in Search of Life (A Platonic Reading of R.
    The aim of this article is to show how a contemporary playwright thinks once more of the Platonic image of the cave in order to reflect on the necessary existential journey of men and women as in the case of a Bildungsroman. Sooner or later men and women must abandon the protection that any sort of cavern such as home, the family garden or family itself can offer. In spite of writing from a by no means idealistic or metaphysical point (...)
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  11. Pau Gilabert Barberà, "Classicism Versus Mediaevalism in Victorian-Edwardian England: E.
    The aim of this article is to illustrate the well-known opposition classicism / medievalism in the Victorian-Edwardian England by analysing accurately E. M. Forster's A Room with a View from the point of view of the Classical Tradition and, therefore, focusing on both the meaning and significance of all its classical -Greek and Roman- references.
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  12. Pau Gilabert Barberà, Damn Platonism! Concrete Persons' Skin, Flesh and Bodies: Three Phases of a Won Battle in Miquel Àngel Riera's Poetry.
    The aim of this article is to show how, throughout M. A. Riera's poetry, an evident anti-metaphysical sensibility can be easily detected, which in its turn makes the poet to praise concrete person's skin, flesh and bodies, thus avoiding any personal Platonic or idealistic experience of human love. In the author's opinion, an accurate reading of his poems makes us discover Plato and Platonism as one of the great responsible thinkers for the contempt of carnal love, which has been undoubtedly (...)
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  13. Pau Gilabert Barberà, Classical Parameters of Shadowlands by Richard Attenborough (On C.
    The aim of this article is to show the classical parameters of Shadowlands by R. Attenborough, with a screenplay by W. Nicholson, on C. S. Lewis's life and work. Based upon an accurate reading of Lewis's works, the author of this article proposes to interpret the opposition Lewis / Gresham as the translation into the real life of the opposition between the Platonic or idealistic and the Aristotelian or materialistic temperaments which was already maintained by Coleridge. In any case, there (...)
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  14. Pau Gilabert Barberà, Oscar Wilde.
    The aim of this article is to present an accurate analysis of O. Wilde's poem 'Camma' by referring it to its Greek model: that Camma both in Plutarch's Amatorius (Eroticus) and Mulierum Virtutes. It is precisely this accurate reading which permits us to verify how Plutarch's Ethics is corrected from the parameters of the hedonism which is peculiar to O. Wilde's aestheticism, thus turning Camma into a symbol of a pleasant life.
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  15. Pau Gilabert Barberà, Platonic Shadows and Lights in Luis Cernuda's Poetry: Their Didactic Use.
    The aim of this article is to show a wide range of lights and shadows in Luis Cernuda's poetry as images which have a specific reference -in spite of not being mentioned-, that is, the Platonic image of the cave. It is thanks to the images that the poet shows us his ideal world, in which shadows symbolize the beautiful, perfect and everlasting world in which Luis Cenuda needs to believe. Once more, it deals with that well-known tension between reality (...)
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  16. Pau Gilabert Barberà, Greece and Platonic Love in E. [REVIEW]
    The aim of this article is to show how, although the evident idealization of Greece and Platonic love throughout the Victorian-Edwardian England, both also show their limits. In order to make it clear the author refers constantly to the implicit Greek texts such as Plato's Symposium and Phaedrus and perhaps even to Plutarch¿s Eroticus in search of a Classical Tradition which is highly significant in order to understand that England at the beginning of the twentieth century.
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  17. Pau Gilabert Barberà, Woody Allen and the Spirit of the Greek Tragedy: From Crimes and Misdemeanors to Match Point.
    Many studies have already paid attention to what is called the "serious films" by Woody Allen and, among them, it is also worth mentioning the one written by the very Pau Gilabert Barberà (2006), which is devoted to the Sophistic legacy underlying in his opinion the screenplay of Crimes and Misdemeanors. On this occasion, his aim is to analyse the fluctuating sight of the American director with regard to the Greek tragedy. Indeed, Gilabert is convinced that, only in this way, (...)
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  18. Pau Gilabert Barberà, The Cave by José Saramago: Platonic Image Versus Metaphysics.
    The cave by José Saramago has as a certain reference the image of the cave of book VII of Plato's Republic and, however, Saramago is not an idealistic or metaphysical writer. This article, taking advantage of the applicability with which Plato endowed his image, defends the urge to be open to the messages sent by the earth, by matter, the urge not to become prisoners in the golden caves of the Western society and, finally, the urge to find our freedom (...)
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  19. Pau Gilabert Barberà, The "Image" of the Cave and the Constant Temptation to Correct Plato: Benjamin Jowettt as an Example.
    Translations of the first chapters of Book VII of Plato's Republic, in which he introduces the well-known image of the cave, eikón, reveals an astonishing and intriguing variety of interpretations of this image: "allegory", "myth", "fable", "parable", "simile" and "comparison", to cite but a few. Taking as an example the work by Benjamin Jowett, the Victorian translator of Plato, remarkable for its textual accuracy and by means of a close analysis of the terms related to the image, this paper insists (...)
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  20. Pau Gilabert Barberà, The Conformist by Bernardo Bertolucci: Alberto Moravia + Plato Against Fascism.
    Why Bernardo Bertolucci, when adapting as a film Alberto Moravia's novel Il conformista, introduced into its homonymous The Conformist the Platonic image of the cave? The article is to give an answer to this question by analysing Moravia's work in search of "cave images", which would justify Bertolucci's decision.
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  21. Pau Gilabert Barberà, Miquel Àngel Riera's The Unattainable Gods (Els Déus Inaccessibles), or Why Can Platonic Western World Not Restore Paganism?
    The aim of this article is to read accurately the novel by M. A. Riera from the point of view of the Classical Tradition and, specifically, from the perspective of the evident Platonic tradition ¿the most metaphysical Platonic love- upon which it is based. In the author¿s opinion, only this accurate reading makes us understand why certain values coming from Paganism and which were considered as such cannot be restored by the Platonic Western world.
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  22. Pau Gilabert Barberà, Anti-Hellenism and Anti-Classicism in Oscar Wilde's Works.
    Thanks to a powerful intellectual weapon, paradox, Oscar Wilde also discovers the dark side of both Classicism and Hellenism. An accurate analysis of his works from the point of view of the Classical Tradition shows an Oscar Wilde who is quite different from the usual Philhellenic one and, above all, from the Platonic one. The aim of this article is to approach a theme which has been hardly studied by classical philologists, that is, anti-classicism and anti-hellenism as an intellectual urge.
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  23. Pau Gilabert Barberà, Luis Cernuda: Platonic Emotiveness Versus Presocratic-Aristotelian Mind.
    The aim of this article is to show how, although the poet finds himself materialist or both Presocratic and Aristotelian, his poetic emotiveness is truly Platonic or idealist, so that that tension between reality and desire with the help of which his poetry has always been defined becomes once more confirmed thanks to the analysis of his poems from a philosophical rather than a literary point of view.
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  24. Pau Gilabert Barberà, The Ismenodora of Plutarch's Eroticus.
    The aim of this article is to show, by means of an accurate philological analysis of Plautarch's Eroticus, how Western Ethics has been clearly sexualized. Indeed, the specific features of masculine bodies become the suitable ones to define what is really ethical, while the specific features of feminine bodies become in their turn the suitable ones to define what is by no means ethical.
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  25. Pau Gilabert Barberà, Some Critical Reflections on Michel Foucault's Reading of Plutarch's Eroticus (Amatorius).
    This aim of this article is to reflect on Michel Foucault's reading of Plutarch's Eroticus in his Histoire de la sexualité, putting emphasis on the fact that, against what it is affirmed by the French thinker, the real debate is not, in the author's opinion, about true pleasure, that obtained by the erastés from his erómenos or that obtained by husbands from their wives, but the need to assign also love and friendship (éros kaì philia) to the conjugal love.
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  26. Pau Gilabert Barberà, Eros in the Physics of Ancient Stoicism (Why Did Chrysippus Think of a Cosmogonal Fellatio?).
    The aim of this article is to show not only what is the role played by eros in the Physics of the Ancient Stoicism but also to discover the meaning of the allegorical fellatio, a cosmogonal fellatio, which was introduced by Chrysippus in his Erotic Letters. The meaning of this intellectual boldness becomes quite clear if the texts are analyzed in accordance with the allegorical interpretation developed by the Stoics and when we also analyze the enodatio nominum of the word (...)
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  27. Pau Gilabert Barberà, Cinema Roads to the Platonic Image of the Cave.
    The aim of this article is to prove the real possibility of travelling intellectually to the Platonic image of the cave from different films. In this sense, one can speak of explicit references as in The Conformist by B. Bertolucci or in Shadowlands by R. Attenborough -if one bears in mind the Chronicles of Narnia by C. S. Lewis- or The Picture of Dorian Gray ¿if one bears in mind the well-known O. Wilde¿s novel-, but, on other occasions, although the (...)
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  28. Pau Gilabert Barberà, Thomas Mann's Death in Venice or Plutarch's Way Towards Eros.
    In Death in Venice Thomas Mann refers explicitly to Plato's Symposium and Phaedrus in order to explain the relationship between Gustav von Aschenbach and Tadzio but he hides that his novel also depends on Plutarch's Eroticus. Why? The aim of this article is precisely to reveal the different reasons for such an attitude. Indeed, Plutarch speaks highly of conjugal love in his Eroticus and this way is not followed by Mann in Death in Venice but, at the same, the German (...)
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  29. Pau Gilabert Barberà, Philo of Alexandria's De Opificio Mundi (LIII-LXI): Discovering the Essential Features of Greek and Western Misogyny in a Platonising Jewish Text.
    The aim of this article is to show the Western centuries-old misogynist tradition from its origins in Greece by analysing a text by the allegorical interpreter of the Bible Philo of Alexandria, his De opifico mundi, which on many occasions is read by him from a Platonic point of view. The accurate analysis of the chapters devoted to the creation of the woman by God proves to what extent it is not possible to understand this text if one does not (...)
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