Sappho Studies

The article studies Eustathius’ Ep. 43 Kolovou and proposes a new interpretation of ll. 57-62,  in particular of the segment where Sappho is mentioned (fr. 209 N.). The poetess’ name is the
result of a mnemonic error (instead of that of the Pythagorean Theano) by the Byzantine scholar.

This paper makes the case for Sappho's influence on Boethius and that related to that influence is some sort of connection of Queen Elizabeth I with Shakespeare as well as the way Caroline Schelling viewed herself with respect to Goethe as well as Friedrich Schelling.

This paper offers a new reading of the Tithonus/Dawn couple in Sappho’s Tithonus poem. It identifies three elements lurking beside the Tithonus/Dawn couple: eros, chronos, and gêras. It suggests that eros, chronos, and gêras haunt this heterosexual couple, altering the power dynamics between them, just like the third element looming beside the couple in the queer couple theory of Lee Edelman (2004) and Brilmyer et al. (2019). In Sappho’s representation of Tithonus and Dawn, these three elements entangle themselves with the couple at different stages through integration, destabilization, and conjunction, thus establishing alternative models to the heterosexual couple norm.

En este trabajo se analiza la interpretación que Daniela Horovitz hace de los poemas de Safo a través de una musicalización y performance en clave latinoamericana, ejecutando la obra de la poeta con ritmos y melodías vernáculas frente a una audiencia culturalmente afín. Esta recepción contrasta con los modos de reproducción de la performance sáfica tradicionales en contextos europeos. A partir de esta nueva perspectiva, se intenta mostrar el valor cultural que tiene este modo de interpretar los poemas en términos de actualidad y apropiación y los nuevos sentidos que esta forma de recepción agrega al texto sáfico.

Chapter 26 of The Cambridge Companion to Sappho examines the reception of Sappho’s poetry in eighteenth- and nineteenth-century France, England, and the United States, examining figures such as Cicely Hamilton, Michael Field (Katharine Bradley/Edith Cooper), Renée Vivien, Natalie Barney, Alexander Pope, Mary Robinson, Jean-Jacques Barthélemy, Samuel Taylor Coleridge, William Wordsworth, Samuel-Auguste André David Tissot, Sapphism, Honoré Daumier, Pierre Louÿs, Henry Thornton Wharton, and Emily Dickinson.

The Sappho of the Enlightenment and Victorian age was manifest in many forms to express multifarious needs. Her plasticity exerted a significant influence on the representations that emerged in the century that followed. The Sappho manufacturers of the eighteenth and nineteenth centuries demonstrated how appropriation and misappropriation of an ancient icon could suit almost any need. References to Sappho in poetry, satire, moral tracts, fine art, academia, medical texts, and pornography demonstrate her flexibility as a subject and provide information on contemporaneous aesthetic trends and ideals. These receptions also function as a societal magnifying glass, enlarging snapshots of life to reveal more than the wider discourse of these eras. While Sappho was the subject of celebrated male poets and artists, she also appealed to those outside the canon. It is from these less familiar case studies that alternative but no less compelling histories emerge. An example of an unconventional, even unexpected nineteenth-century Sappho is the creation of the Sapphonian Society in 1892 at Illinois State Normal University. While perhaps outside expected academic enquiries into the reception of Sappho, scholarship on this women's literary society demonstrates the rhetorical strategy behind the group, as symbolised by its eponym. It sought to prepare female students to challenge the contemporary polemic of the 'woman peril in education' that allegedly posed a threat to the male dominance of scholarship. 1 Suffragettes included Sappho in their historical collectives of important women, illustrated by her inclusion in Cicely Hamilton's A Pageant of Great Women, published at the end of the 'long' nineteenth century in 1910. 2 Classicism also appeared in broader, more egalitarian contexts in the eighteenth and nineteenth centuries. Sarah Hale's Ladies' Magazine

The number of lines required in the lacuna means that we must admit 29, not 27. 62 Column-height can vary across a roll, as becomes especially clear in extensively-preserved exemplars such as the London Bacchylides (P.Lond.Lit. 46 + PSI XII 1278), whose 39 columns have a minimum of 32 and a maximum of 36 lines. According to the recent contribution of P. J. Finglass, Column-height in the Newest Sappho, ZPE 223 (2022), 1-6, the six consecutive columns of Sappho represented by P.GC. inv. 105 + P.Sapph.Obbink had between 30 and 33 lines per column.

This piece is a fresh take on the crux philologorum in Sappho fr. 96,8, an extended moon simile, where Aeolic σελάννα, a commonplace of Sapphic poetry, easily restituted ex coniectura by W. Schubart in his editio princeps of PBerol. 9722 in 1902, was ousted by an unmetrical, if poetic, μήνα. The author offers an overview of the past and most recent scholarly effort along with an attempt (albeit a speculative one) to approach the issue of the irrational ratio corruptelae from the part of the resonant adjective βροδοδάκτυλος, an altogether uncommon epithet of the moon, paying close attention to the fact that the intruding word is disyllabic. The dactylic feel of the weighty adjective βροδοδάκτυλος is deemed at some point to have prevailed in a scribe's dictation interne to the result that ἠώς could have landed in the text proper, or could have found its way there gradually from an intrusive marginal gloss left by a learned scribe unable to keep the Homeric clausula ῥοδοδάκτυλος ἠώς to himself. At some point another, no less learned scribe, attentive to the context of the simile, picked up μήνα, not σελήνη, as his remedy of choice, sticking to the number of syllables in the now resident ἠώς.

Em uma perspectiva interdisciplinar entre os períodos da Antiguidade arcaica helênica e da Modernidade, procedeu-se à análise das metáforas constantes no fragmento 31 (Page), da poetisa grega Safo, por meio da teoria conceitual de metáfora elaborada por George Lakoff e Mark Johnson, formulada na década de 80 do séc. XX. Ao final do estudo, apresentou-se uma proposta de tradução do poema pautada exatamente nos resultados das análises efetuadas com base nos conceitos levantados por Lakoff e Johnson, que serviram como verdadeiras ferramentas de investigação e classificação dos enunciados metafóricos criados por Safo.

Este artículo pretende analizar la antología poética traducida de un solo autor como medio de entrada de dicho poeta en un nuevo sistema literario. Para ello, nos basaremos en el estudio de las antologías traducidas al castellano de los integrantes del modernismo norteamericano. Como veremos, a menudo el traductor-antólogo presenta al autor extranjero ante un público nuevo (le abre la puerta) y, además, da el primer paso para su admisión en la cultura de llegada mediante la traducción de una selección de su obra. El artículo se divide en cuatro partes principales. En primer lugar, realizaremos un breve análisis cuantitativo de las ediciones de poesía modernista publicadas en inglés y en castellano. En segundo lugar, describiremos las características más frecuentes de las antologías poéticas traducidas, basándonos en distintas selecciones dedicadas a un solo autor. En tercer lugar, dedicaremos algunas páginas a comentar la labor de varios traductores-antólogos, agentes imprescindibles a la hora de difundir de manera internacional la obra de otros poetas. Y en cuarto y último lugar, presentaremos una antología poética traducida que, a nuestro modo de ver, contiene todos los rasgos necesarios para servir de carta de presentación de un poeta ante el nuevo público. El tema que nos ocupa se enmarca dentro de un estudio más amplio sobre traducción y recepción de la poesía modernista, que parte del análisis internacional y diacrónico de la recepción en inglés y en castellano de un corpus de 28 poetas modernistas norteamericanos. Nos referimos aquí al «modernismo» en un sentido amplio y «polifónico»,(1) no restrictivo, que permite el diálogo entre distintas tendencias poéticas que coexisten. Criterios de selección del corpus de poetas Antes de pasar al análisis, nos gustaría aclarar qué criterios de selección hemos seguido para establecer el corpus de poetas analizados. Hemos partido de los autores presentes en The Poetry Anthology. 1912-2002 (Parisi y Young, 2002), antología de la revista de Chicago Poetry, entre 1912 (año en que Harriet Monroe fundó tal revista y, en cierto modo, también punto de partida del movimiento modernista) y 1941 (año en el que Estados Unidos entró en la Segunda Guerra Mundial y se acentuó el cambio de mentalidad y corriente poética).(2) A continuación, hemos contrastado esa lista con las ofrecidas en The Norton Anthology of Poetry (Ferguson et al., 2004 [1970]), The Norton Anthology of Modern and Contemporary Poetry (Ramazani et al., 2003 [1973]), The Oxford Book of American Poetry (Lehman y Brehm, 2006 [1976]) y Anthology of Modern American Poetry (Nelson, 2000), y hemos seleccionado a los poetas que aparecían en al menos tres de esas cuatro fuentes (además de recogerse en la antología de Poetry).

Η ΠΑΡΟΥΣΑ μeλέτη διeρeυνά τις σχέσeις ανάμeσα στην αττική κωμωδία του 5ου και του πρώιμου 4ου αι. π.Χ. και τους διαλόγους του Πλάτωνα. Βασικό στοιχeίο συσχeτισμού των δύο eίναι το γeγονός ότι τόσο οι κωμικοί ποιητές όσο και ο Πλάτωνας προσέδωσαν ιδιαίτeρη βαρύτητα στον διδακτικό-παιδαγωγικό ρόλο των δραματικών eιδών στο πλαίσιο της αθηναϊκής δημοκρατίας. Ωστόσο, αντίθeτα προς την κωμωδία και την τραγωδία, οι πλατωνικοί διάλογοι δeν απeυθύνονται στα συναισθήματα του κοινού. Μάλλον “αποκαθαίρουν” τις παραδοσιακές δραματικές τeχνικές και τις eνσωματώνουν σe μία νέα δραματική-διαλογική μορφή, η οποία απeυθύνeται στη λογική.

O objetivo deste artigo é apresentar e analisar brevemente as menções à poeta Safo e/ou à sua ilha de origem, Lesbos, presentes na Shimmy – A revista da vida moderna, publicada no Rio de Janeiro, entre 1925 e 1933. Tendo em vista que, no âmbito da referida revista, essas menções aparecem invariavelmente associadas à temática do lesboerotismo, o objetivo é compreender a funcionalidade dessa associação, no anseio de contribuir para uma historicização desse vínculo entre a poeta e/ou de sua ilha e a temática do lesboerotismo, no Brasil. Vinculação ainda hoje recorrente, não apenas no Brasil, mas cujas manifestações mais sistemáticas em âmbito nacional parecem remontar ao início do século XX.

This article aims to present and briefly analyze the references to the poet Sappho and/or origin island, Lesbos, made in Shimmy – The Magazine of Modern Life, published in Rio de Janeiro, between 1925 and 1933. Taking into consideration that, within the above-mentioned magazine scope, those mentions invariably appear associated with the lesboerotism subject matter, the objective is to understand the functionality of this association, longing to contribute towards a historicism of this bond between the poet and/or her island and the lesboerotism theme, in Brazil. That connection is still recurrent nowadays, not only in Brazil, but whose manifestations more systematically at national level seem to date back to the early XX century.

Portions of this paper were discussed as part of a conference sponsored by the Institute for Studies in Eastern Christianity (ISEC) of Union Theological Seminary in the City of New York
on the theme of WARFARE, VIOLENCE, AND PEACE: SPIRITUAL, PHYSICAL AND METAPHYSICAL.

The incorporation of Plato into the current OCR Classical Civilisation A Level syllabus, as part of the Love and Relationships topic (LR) presents a challenge for the classroom teacher. While the specification makes study of Plato mandatory the content description in practice effectively relegates the topic to the sidelines. Having described this problem the article goes on to suggest how Plato's ideas can be taught within the framework of the existing specification in a pupil-friendly manner which is true to the spirit of Plato's own philosophical practice.

This poem is a villanelle, a sixteenth-century European form originating from a rustic dance (villano, "peasant"). A villanelle consists of five three-line stanzas and a final quatrain, with the first and third lines of the first stanza rhyming, and this rhyme being repeated alternately in the following stanzas. These two refrain lines form the final couplet in the quatrain. The second line of the first stanza rhymes, more or less, with the second line of the subsequent stanzas. Many modern villanelles feature slight modifications.

La traducción literaria en antologías resulta un vehículo fundamental tanto para la difusión de las literaturas extranjeras, como para el efecto que éstas pueden tener en la literatura de la lengua de llegada; mediante procesos de influencia, préstamo, aceptación, rechazo o intercambio, entre otros. Este artículo analiza una de las antologías de poesía norteamericana más destacadas en el siglo XX: Cosmopolitismo y disensión, del argentino Alberto Girri. Tanto sus versiones como el breve estudio preliminar que acompaña el volumen plantean una mirada especial sobre la poesía norteamericana del siglo pasado; esa mirada generó una forma de leer y pensar acerca de la poesía estadounidense en el espacio argentino, e incluso latinoamericano más amplio.Literary translation in anthologies is a pivotal element in bringing poetry produced in foreign languages to the public’s attention. At the same time, these anthologies may have a deep influence on the literature of the B language, through in...

O artigo tem como objetivo analisar o contexto em que vivia Safo, a partir de seus fragmentos em que cita seu circulo de companheiras, como o fragmento 160, ou os que citam meninas do coro. Para isso, analiso-os e contextualizo o momento historico em que Safo teria composto, focando nas mulheres e seus costumes. Sabe-se pouco sobre como as mulheres viviam, e Safo nos da somente algumas pistas em seus fragmentos. E possivel, atraves deles e do que se sabe da vida das mulheres na Grecia antiga, formular algumas perguntas, a serem desenvolvidas nesse artigo: como era a educacao das meninas, em um contexto de literatura oral? Como Safo se ligava as suas companheiras? Trabalhando com a hipotese de que Safo teria sido professora de um coro, procuro tambem explorar como era essa educacao dessas jovens e qual os seus propositos.

The ancient Greek singer-songwriter Sappho (630-570 BC) came from the island of Lesbos in the eastern Aegean Sea (off the coast of Turkey). She was a lyrical celebrity (probably) in her own day. The textual remains of her songs-that is, the lyrics to them-have been read and imitated as poems, inspiring endless "variety," one of the hallmarks of Sappho's plush aesthetic, throughout the centuries. Her poetic output postdated the advent of the Greek alphabet by about a century and a half and thus corresponded with the strange new technology of writing. For this reason, writing is going to be one of the major themes of this course. Whether she knew the art of writing or was innocent of it is a keenly debated question. What remains of her songs, in any case, is at once magnificently rich and paltry enough for immortality: one complete hymn to Aphrodite, two nearly complete other poems and a total of 192 fragments, some with only one or two words on them. (So, not easy reading!). Just as Sappho wrote: "Someone, I tell you, will remember us, even in another time," so this course will be at once an act of memory and reconstructive imagination. What could be more poetic?

The incorporation of Plato into the current OCR Classical Civilisation A Level syllabus, as part of the Love and Relationships topic (LR) presents a challenge for the classroom teacher. While the specification makes study of Plato mandatory the content description in practice effectively relegates the topic to the side-lines. Having described this problem the article goes on to suggest how Plato's ideas can be taught within the framework of the existing specification in a pupil-friendly manner which is true to the spirit of Plato's own philosophical practice.

The incorporation of Plato into the current OCR Classical Civilisation A Level syllabus, as part of the Love and Relationships topic (LR) presents a challenge for the classroom teacher. While the specification makes study of Plato mandatory the content description in practice effectively relegates the topic to the sidelines. Having described this problem the article goes on to suggest how Plato's ideas can be taught within the framework of the existing specification in a pupil-friendly manner which is true to the spirit of Plato's own philosophical practice.

Βιβλιοκρισία από την κ. Τέσυ Μπάιλα, συγγραφέα και κριτικό λογοτεχνίας, για το ποιητικό βιβλίο της Αναστασίας Ν. Μαργέτη: «Πλάτων Ψυχή και (π)οίηση. Διαλεκτική των αντιθέτων» (πενήντα επτά επιγράμματα), εκδ. ΓΡΗΓΟΡΗ, 2020, η οποία δημοσιεύτηκε στο ηλ. περιοδικό.culturenow, στις 07-04-2021και είναι διαθέσιμη στο;
https://www.culturenow.gr/platon-psyxi-kai-p-oiisi-dialektiki-ton-antitheton-synomilontas-me-ton-platona-peri-psyxis/?fbclid=IwAR2UQwzsrG-Xr61dAcQj0GdMH56e-X4u3Oq29f4eUF8XSzv1wfaAeZaOegI

Studying poetry is considered the most difficult by most of the students in my classes in EFL context. This can be understood since poetry in general has a unique form different from other types of literary works. With very limited lines and space provided in poetry, poets are able to put forward their ideas. Such reality enables readers to explore the most possible and acceptable meaning of poetry. However, it seems impossible for readers to find out the poets' exact intended meaning through their writings. So, it is notthe readers' job to get the poets' exact intended meaning but to explore the possible and acceptable meaning by using the clues presented within the poem. In interpreting the poem's meaning, readers should consider any poetic devices applied by the poet in expressing his/her ideas. Poets are very intelligent in playing with figures of speech. They use figurative languages more freshly and vividly than common writers. Through this article, I intend to...

Studying poetry is considered the most difficult by most of the students in my classes in EFL context. This can be understood since poetry in general has a unique form different from other types of literary works. With very limited lines and space provided in poetry, poets are able to put forward their ideas. Such reality enables readers to explore the most possible and acceptable meaning of poetry. However, it seems impossible for readers to find out the poets' exact intended meaning through their writings. So, it is notthe readers' job to get the poets' exact intended meaning but to explore the possible and acceptable meaning by using the clues presented within the poem. In interpreting the poem's meaning, readers should consider any poetic devices applied by the poet in expressing his/her ideas. Poets are very intelligent in playing with figures of speech. They use figurative languages more freshly and vividly than common writers. Through this article, I intend to...

Comment on a letter of Ioannis Τzetzes, presenting Plato, as a guest at the banquets of the Sicilian tyrants, where he was defeated in a symbolic contest by the composer of the dithyramb Δεῖπνον, Philoxenos of Kythira. With this theme, borrowed from Aelios Aristeides, Tzetzes sought to highlight his own position in the complex network of personal connections with patrons, fellow intellectuals, friends, collaborators, competitors and rivals, drawing specific elements from the sources, which had established the emblematic model of Philoxenos as a poet known for his unreservedness in speech.

La mamma e la festa (Sapph. fr. 9 V. + P. GC. inv. 105 fr. 1) * CAMILLO NERI Alla memoria di M. L. West Agli scarni frammenti che costituivano il fr. 9 di Saffo, restituiti da P. Oxy. 2289 fr. 4, contenente brani del primo libro 1 , il nuovo papiro (P. GC. inv. 105 fr. 1) edito da Simon Burris, Jeffrey Fish e Dirk Obbink (BFO 2014) ha aggiunto qualche lettera ai rr. 4-9 e altri 12 versi (10-21), parimenti mutili a sinistra e a destra 2. Questo il testo, che riproduce con poche modifiche (e con qualche cautela in più) quello di Obbink (2015b, 38-41), corredato di un apparato e di una traduzione, ambedue di mero servizio:

Η παρούσα εργασία στοχεύει να παρουσιάσει την ποιητική σχέση του Οδυσσέα Ελύτη με την αρχαία λυρική ποιήτρια Σαπφώ, όπως αυτή εκδηλώνεται κυρίως μέσα από το έργο του Σαπφώ: ανασύνθεση και απόδοση. Για τον λόγο αυτόν, ερευνώ ποια σημεία τονίζονται περισσότερο από τον ποιητή στο παραπάνω βιβλίο του, καθώς εκείνα δείχνουν τόσο τον δρόμο που φαίνεται να ακολούθησε ο Ελύτης προσεγγίζοντας τη Σαπφώ όσο και τον τρόπο που ο ποιητής μοιάζει να προτείνει στον σύγχρονο άνθρωπο, ώστε να γνωρίσει κι εκείνος την αρχαία λυρική ποιήτρια. Έτσι, αρχικά επισημαίνω τη συνειδητή προβολή του πρώτου ενικού προσώπου από τον Ελύτη στο παραπάνω έργο, κυρίως μέσα από την αυτοπαρουσίαση της «Σαπφώς», της ποιητικής persona του βιβλίου. Έπειτα, αναζητώ πώς η φύση της Αιολίδας μπορεί να αποτελέσει τον κοινό χώρο δράσης των δυο ποιητών και τον τόπο, βέβαια, μέσα από τον οποίο ο αναγνώστης μπορεί να επικοινωνήσει με την αρχαία λυρική ποιήτρια. Τέλος, θεωρώντας τη γλώσσα ως τον τρίτο δρόμο που επιλέγει ο Ελύτης για να μας φανερώσει τη Σαπφώ, ερευνώ πώς ο ποιητής έχοντας ως κέντρο εργασίας του τις ιδέες του περί της δυναμικής της λυρικής γλώσσας προχωρεί στην ανασύνθεση και απόδοση των σαπφικών αποσπασμάτων στο παραπάνω έργο του.

Cet article propose une réflexion sur le concept sapphique de tolma (audace) à partir du vers tronqué qui termine le fragment 31 : « mais il faut tout oser / mais on peut tout oser / tout endurer (alla pan tolmaton) […] », selon les diverses traductions et interprétations existantes, rapidement passées en revue. Nous refusons l'entente résignée de la leçon *tout endurer ainsi que celle, héroïque et romantique, du *tout oser entendu comme appel à la transgression d'une situation sociale donnée. La mise en perspective de ce poème avec ses conditions de composition et avec l'ensemble de la pensée et de Sappho oblige, selon nous, à dégager une entente positive de l'audace comme principe éthique et pédagogique – une audace à la fois sans transgression et sans compromission.

The emphasis on poetic personae in Archaic lyric-poets announcing their own names and ostensibly relating their own experiences-has enormous significance for audiences eager to conjure fully animated private and public spaces in the period. As much lyric is written in the first person and, as a result, is cast as a form of personal narrative, it seems to offer a degree of tangibility unavailable to audiences of epic, whose "authors," Homer and Hesiod, present themselves as mouthpieces of the gods, inspired bards but not composers. 1 In the case of epic there is necessarily no sense that the poets possess firsthand knowledge of the sagas that they recount; their subject matter, centered on gods and heroes, is remote both in time and place. By contrast, lyric poets tend to position themselves as experiential guides proffering glimpses into a fictive, albeit wholly human, and thus "relatable," world. Hereby these poets entice audiences to conjure their personae, to share their projected feelings and emotions, and, in the mind's eye, to see the places and spaces that, in their poems, they inhabit, long for, and imagine. Among lyric poets, the most intensely personal and affective is Sappho, the so-called Tenth Muse, whose erotic, gynocentric subject matter and use of language sets her work apart from that of her peers (for discussion of her work more broadly, see Lardinois (Chapter 18) in this volume). Among lyric poems, both Sappho's and her male contemporaries', her prayer to Aphrodite for divine epiphany is the most richly textured in terms of spatiality. Its mesmeric vividness strongly invites the audience to enter its tantalizing space: δεῦρύ μ' ἐκ Κρήτας ἐπ[ἱ τόνδ]ε ναῦον 1a ἄγνον, ὄππ[αι τοι] χάριεν μὲν ἄλσος μαλί[αν], βῶμοι δ' ἔ⟨ν⟩ι θυμιάμε-1 This is particularly true of Sappho, in whose case most interpretation of her work has been biographically focused since antiquity (Parker 1993: 336). I wish to thank Laura Swift, Tyson Sukava, and Donald Dunham at the outset for their insightful comments.

tradujeron, cada uno por su parte y desconociendo seguramente la respectiva versión del otro/de la otra, el poema de Victor Hugo «Les Djinns» a comienzos de los años cuarenta del siglo xix. este artículo analiza las estrategias de traducción utilizadas por Avellaneda y por Bello y estudia la funcionalización de cada una de las traducciones en el contexto cultural específico tomando en cuenta el lugar de enunciación respectivo. Punto de partida del análisis es la tesis de que dicho lugar está significativa mente marcado por la diferencia de género/gender en el caso de Avellaneda, y por la localización geocultural en el caso de Bello.

Introduzione 1) Plat. Leg. III 700a-b (trad. Radice) διῃρημένη γὰρ δὴ τότε (i.e. all'epoca delle Guerre Persiane) ἦν ἡμῖν ἡ μουσικὴ κατὰ εἴδη τε ἑαυτῆς ἄττα καὶ σχήματα, καί τι ἦν εἶδος ᾠδῆς εὐχαὶ πρὸς ϑεούς, ὄνομα δὲ ὕμνοι ἐπεκαλοῦντο• καὶ τούτῳ δὴ τὸ ἐναντίον ἦν ᾠδῆς ἕτερον εἶδος-ϑρήνους δέ τις ἂν αὐτοὺς μάλιστα ἐκάλεσεν-καὶ παίωνες ἕτερον, καὶ ἄλλο, Διονύσου γένεσις οἶμαι, διϑύραμβος λεγόμενος. νόμους τε αὐτὸ τοῦτο τοὔνομα ἐκάλουν, ᾠδὴν ὥς τινα ἑτέραν• ἐπέλεγον δὲ κιϑαρῳδικούς. Allora, nella nostra Città la musica era divisa in certi generi suoi propri e in certe figure. Uno di questi generi di canto era costituito dalle preghiere rivolte agli dèi che prendevano il nome di inni. Ma poi c'era anche un altro tipo del tutto diverso da questo, i cosiddetti treni, e un altro ancora, i peani e inoltre il genere chiamato ditirambo che, se non erro, era dedicato alla nascita di Dioniso. Inoltre, si contava ancora un ulteriore gruppo di canti che portavano proprio il nome di nomoi, ma che erano definiti pure canti citaredici.

Andrés Bello y Gertrudis Gómez de Avellaneda tradujeron, cada uno por su parte y desconociendo seguramente la respectiva versión del otro/de la otra, el poema de Victor Hugo «Les Djinns» a comienzos de los años cuarenta del siglo xix. Este artículo analiza las estrategias de traducción utilizadas por Avellaneda y por Bello y estudia la funcionalización de cada una de las traducciones en el contexto cultural específico tomando en cuenta el lugar de enunciación respectivo. Punto de partida del análisis es la tesis de que dicho lugar está significativamente marcado por la diferencia de género/gender en el caso de Avellaneda, y por la localización geocultural en el caso de Bello.