Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master

The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.

Kofman's Affirmative Creation: Moral Law, Dom Juan and the Limits of Maternal Debt

This article considers Sarah Kofman's interpretation of Molière's Dom Juan in ‘The art of not paying one's debts’. It argues that this neglected text addresses important questions of moral debt and that Dom Juan's failure to reject all debt is of central importance. Building on this, the article shows how Kofman proposes a form of affirmative creation which involves the rejection of a sexual economy shared by Kant, Freud and Dom Juan. It then turns to Nietzsche to explain this failure: we see that Dom Juan's insistence on the maternal in fact limits the self-creation that he desires. The article argues that Kofman understands the maternal as a limit on our capacity for creating a more just moral law. The case of Dom Juan, therefore, allows us to see that Kofman's affirmative creation involves the creation of new categories beyond the maternal and paternal.

UMA PERSPECTIVA TEÓRICA E DIACRÔNICA SOBRE O MITO DE DOM JUAN ESPANHOL

Um traço inerente e universal da literatura é sua relação com a tradição oral, a lenda e o mito (e as mitologias enquanto conjunto de mitos). Dentro desse contexto, um mito muito conhecido na literatura espanhola e mundial é o de Dom Juan. Mas quais são os aspectos intrínsecos que o configuraram como tal? E como se dá essa relação entre dito mito e a literatura espanhola, ao longo de um caminho histórico, até inícios do século XX? Este artigo faz um percurso teórico e diacrônico, com o intuito de responder a essas questões, elucidando a importância dessa relação entre literatura espanhola e um dos mitos mais célebres, produzidos pela cultura hispânica.

MODELO CAVALEIRESCO DE DOM JUAN MANUEL E CAVALARIA CASTELHANO-LEONESA NA PASSAGEM DO SÉCULO XIII PARA XIV

Neste artigo propomos a analisar os traços que a entidade cavaleiresca adquire nas obras de Dom Juan Manuel: Libro del caballero y del escudero e Libro de los estados. Para que a nossa abordagem seja mais ampla e não fique presa somente aos escritos de Juan Manuel discutiremos alguns aspectos dos trabalhos que influenciaram o autor. Desse modo trataremos de Llibre de l'Orde de Cavalleria de Raimundo Lulio e Titulo XXI da Segunda Partida das Siete Partidas de rei Alfonso X, tentando compreender as razões das escolhas e interpretações que Dom Juan Manuel faz manejando estes dois modelos cavaleirescos, bastante distantes um de outro tanto no sentido político como espiritual.