Este artículo examina tres fragmentos de Empédocles desde una perspectiva de mitocrítica cultural, y analiza la interacción entre mito, cosmología y soteriología. Se contextualiza su obra en el paso de la época arcaica griega a la clásica y se exploran conceptos como philótēs y neîkos para explicar el ciclo cósmico y la purificación del alma. Mediante un análisis filológico y comparativo con tradiciones órficas y pitagóricas, se argumenta que la poesía empedoclea integra conocimiento natural y experiencia religiosa, configurando un lenguaje hierofánico que fusiona mito y filosofía, y reactualiza un tiempo primordial en el cual se manifiestan verdades arquetípicas y se unifica la visión del cosmos.
This article analyzes the figure of Puck from a mythocritical, historical, and performative perspective, examining both his folkloric origins and his reinterpretation in contemporary stage and audiovisual adaptations. Drawing on medieval sources documenting the Anglo-Saxon puca, the study traces the process that transforms this ambiguous being into the dramatic character shaped by Shakespeare in A Midsummer Night's Dream. The analysis focuses on three interpretations: Michael Hoffman's film (1999), Tamzin Townsend's theatrical adaptation (2007), and Julie Taymor's stage production (2013). The study argues that the myth of Puck is continually reactivated through different performance languages, reflecting broader aesthetic, ideological, and cultural transformations.
Este artículo analiza la figura de Puck desde una perspectiva mitocrítica, histórica y escénica, atendiendo a sus orígenes folclóricos y a su resignificación en adaptaciones contemporáneas. A partir del estudio de las fuentes medievales que documentan al puca anglosajón, se examina el proceso que lo convierte en el personaje dramático fijado por Shakespeare en A Midsummer Night’s Dream. La investigación aborda tres interpretaciones: la película de Michael Hoffman (1999), la adaptación teatral de Tamzin Townsend (2007) y la puesta en escena de Julie Taymor (2013). El análisis muestra cómo el mito de Puck se reactualiza constantemente en distintos lenguajes escénicos, reflejando transformaciones culturales, estéticas e ideológicas.
This paper explores Annora Petrova epistolary creepypasta as a gender technology that conceptualises feminine agency as a communal threat. The intersection of myth-critical analysis and feminist close reading allows mapping recurrent mythemes and constellations, as Genesis Eve’s access to forbidden knowledge, the hybris ascent and nemesis corrective punishment. The Wiki-oracle embodies an authorised truth regime that prescribes an inescapable punitive end. Femininity’s self-incriminating voice operates as biopower ventriloquism to legitimise the cruelty pedagogy of violence against femininity, the stigmatisation and ostracism of the scapegoat, and the expulsion from paradise. Thus, canonical Anglophone viral narratives endure disciplinary mythemes.
The present study focuses on the short story Galatea (2013) by Madeline Miller, a rewriting of the myth of Pygmalion as told by Ovid in his Metamorphoses. The study has aimed to analyze, from the perspective of Classical Reception studies, the strategies followed by the author to subvert the myth, which allows us to reflect on her supposed revisionist approach (Ostriker 1982). From the analysis, it can be inferred that the myth is used as a vindicating tool, an object of resistance through which it is possible to reexamine both Classical Antiquity-which has played a relevant role in the construction and legitimation of patriarchal discourse-as well as our present.
