{"id":28895,"date":"2018-03-09T09:21:47","date_gmt":"2018-03-09T09:21:47","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/phonaenta-synetoasin-pa%c2%adndaro-y-los-misterios-edicion-y-comentario-de-la-ola%c2%admpica-segunda\/"},"modified":"2018-03-09T09:21:47","modified_gmt":"2018-03-09T09:21:47","slug":"phonaenta-synetoasin-pa%c2%adndaro-y-los-misterios-edicion-y-comentario-de-la-ola%c2%admpica-segunda","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/salamanca\/phonaenta-synetoasin-pa%c2%adndaro-y-los-misterios-edicion-y-comentario-de-la-ola%c2%admpica-segunda\/","title":{"rendered":"Phon\u00e1enta syneto\u00c1\u00aesin. p\u00edndaro y los misterios: edici\u00f3n y comentario de la ol\u00edmpica segunda."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Marco Antonio Santamar\u00eda \u00e1lvarez <\/strong><\/h2>\n<p>Esta tesis doctoral consiste en la edici\u00f3n, traducci\u00f3n al espa\u00f1ol, comentario y estudio sistem\u00e1tico, con \u00e9nfasis en las influencias mist\u00e9ricas, de la ol\u00edmpica segunda de p\u00edndaro, sus dificultades y sus peculiaridades dentro del conjunto de epinicios del autor. El trabajo consta de tres partes:  1) la primera parte, denominada introducci\u00f3n, trata de los aspectos generales del poema, como sus circunstancias, su g\u00e9nero, su estructura, su m\u00e9trica (muy inusual), sus recursos literarios y la transmisi\u00f3n del texto.  2) en la segunda parte se estudian las influencias de los movimientos mist\u00e9ricos (orfismo, pitagorismo y misterios de eleusis) en al ol\u00edmpica segunda y en otros pasajes de la obra pind\u00e1rica, sobre todo en los trenos y en los ditirambos. Se analizan tanto los antecedentes literarios de la secci\u00f3n escatol\u00f3gica (vv.56-83) como los motivos mist\u00e9ricos (el juicio de las almas, los premios y castigo post menores). La tesis principal es que tal influencia es perceptible tanto en la forma como en el contenido en numerosos puntos del poema y que su origen es el orfismo. Todo parece indicar que p\u00edndaro introduce estas doctrinas no porque \u00e9l fuera un seguidor del orfismo, sino porque lo era el destinatario del poema, ter\u00f3n de agrigento.  3) la tercera parte est\u00e1 formada por la edici\u00f3n del poema, la traducci\u00f3n al espa\u00f1ol y un comentario filol\u00f3gico exhaustivo verso por verso.  completan el trabajo tres ap\u00e9ndices: uno sobre la lengua de la oda, otro sobre la fortuna en la literatura posterior y otro con una lista de errores percibidos en el aparato cr\u00edtico de otras ediciones.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Phon\u00e1enta syneto\u00c1\u00aesin. p\u00edndaro y los misterios: edici\u00f3n y comentario de la ol\u00edmpica segunda.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Phon\u00e1enta syneto\u00c1\u00aesin. p\u00edndaro y los misterios: edici\u00f3n y comentario de la ol\u00edmpica segunda. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Marco Antonio Santamar\u00eda \u00e1lvarez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 27\/02\/2004<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Francisco Lisi Bereterbide<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Fern\u00e1ndez delgado Jos\u00e9 Antonio <\/li>\n<li>Emilio Su\u00e1rez de la torre (vocal)<\/li>\n<li>Carlos Garcia gual (vocal)<\/li>\n<li>Alberto Bernabe pajares (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Marco Antonio Santamar\u00eda \u00e1lvarez Esta tesis doctoral consiste en la edici\u00f3n, traducci\u00f3n al espa\u00f1ol, comentario y estudio [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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