Nicole Loraux

From Homer’s Iliad to the Athenian funeral oration and beyond the “‘beautiful death” was the name that the Greeks used to describe a combatant’s death. From the world of Achilles to democratic Athens, in the fifth and fourth centuries BC, the warrior’s death was a model that concentrated the representations and the values that served as [masculine] norms.  This should not be a surprise: the Iliad depicts a society at war and in the Achaean camp, at least, a society of men, without children and legitimate wives. Certainly the Athenian polis (“city-state”) reversed the traditional combatant–citizen relationship by claiming that one must be, first, a citizen before being a soldier.  Nevertheless this polis distinguished itself from others by the splendour that it gave the public funeral of its citizens that had died in war and especially by the repatriating of their mortal remains (Thuc. 2.34). In a society that believed in autochthony this repatriation was, undoubtedly, significant. Since the beautiful death crystallised the aretē (“courage”) of Achilles and Athenians alike, it was, from the outset, linked to speech. Indeed heroic death and the civic beautiful death were the subject-matter of elaborate speech. Such a celebratory discourse gave the warrior’s death an eternal existence in memory. This discourse gave his death its reality, but, conversely, also took for itself all that was valued in his accomplished exploit and claimed to be its truthful expression. In short the beautiful death was a paradigm.

Each year the classical Athenians held a public funeral for fellow citizens who had died in war. On the first two days they displayed the war dead's coffins in the centre of Athens. On the third day they carried them in a grand procession to the public cemetery. There they placed the coffins in a funeral monument that the democracy had built at great expense. Beside it a leading politician delivered an oration ostensibly in the war dead's honour. In 1981 N. Loraux published a transformational study of this funeral oration. Before her The Invention of Athens ancient historians had considered this speech of little importance. But Loraux proved that it played an absolutely central role in the self-perception of the Athenian people. Each funeral oration rehearsed the same image of them: the Athenians were always victorious and capable of repelling foreign invaders, because they were braver than the other Greeks, while their wars only brought benefits and were always just. The Invention of Athens proved that the funeral oration typically created this image by narrating Athens's military history in mythical and historical times. Her study also made bold claims about the genre. For Loraux it was the most important one for the maintenance of Athenian self-identity, whose content, she asserted, was confined to what the funeral oration rehearsed. The Invention of Athens claimed that this self-identity adversely affected how the dēmos ('people') conducted foreign affairs. Yet her study did not systematically compare the funeral oration and the other genres of Athens's popular literature. Consequently Loraux was unable to prove these bold claims. The Athenian Funeral Oration builds on Loraux's rightly famous study by making this comparison. The first way that this new book does so is by exploring the extent to which the other genres reproduced the funeral oration's commonplaces. In dramatising the genre's mythical military exploits tragedy certainly rehearsed its image of the Athenians, while comedy regularly parodied it. All this shows the funeral oration's importance. At other times, however, these two genres contradicted its commonplaces, depicting, for example, not just the benefits but also the huge human costs of war. If Loraux's claim about the funeral oration's adverse impact is correct, its image of the Athenians must have had a big part in the assembly's debates about war. The political speeches that survive partially support her claim; for they do show how proposals for war often were couched in terms of justice. But, it appears, again, that this genre's treatment of war also went well beyond the funeral oration. The second way that the book makes this comparison is by studying how these different genres depicted the state's military history, democracy and sailors. This, too, will force us to modify Loraux's claims. There is no doubt that the funeral oration set the pattern for the depiction of Athens's wars. But this, apparently, was not the case with the other common topics; for tragedy, it seems, took the lead with democracy, while all genres equally reflected the dēmos's positive view of sailors.

A lo largo de su historia, la democracia ateniense encontró diversos modos de oposición que pusieron, en mayor o menor medida, en peligro su persistencia. Frente a esas amenazas reales, potenciales y, en algunos casos, imaginarias, la demokratía puso en práctica una multiplicidad de dispositivos orientados a garantizar su propia conservación.
En base a ello, en la presente comunicación analizaremos de qué manera el régimen político ateniense se organizó para cumplir con dos objetivos estrechamente entrelazados: a) evitar las concentraciones de poder consideradas excesivas en tanto que pudieran resultar contradictorias con el principio de la isonomía; y b) desarrollar una identidad y uno modelo de comportamiento cívicos tendientes a favorecer la unidad y el compromiso de los ciudadanos frente a las amenazas a la democracia. El miedo a la tiranía, en tanto sentimiento generalizado, constituyó un dispositivo dinámico que se amoldó a las diferentes coyunturas favoreciendo la consecución de los objetivos enunciados.

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Nicole Loraux può essere considerata una delle più grandi e vivaci menti del panorama intellettuale contemporaneo. Storica, antropologa, classicista, filologa, ha saputo coniugare mondo antico e psicanalisi in un pensiero che, nei suoi esiti, raggiunge livelli di intenso valore politico. Coniugando lettura di genere e riflessione politica, Nicole Loraux fa parlare la classicità una lingua politica ben più ampia e generale, che arriva ai nostri giorni, pur nella ferma assunzione metodologica che colloca la grecità come alterità inassimilabile. Elaborando un discorso squisitamente politico l’autrice illustra una polis e uno spazio pubblico scisso, lontano dall’armonia razionale e dal logos, ma anzi preso tra irrisolvibili divisioni, costitutive e intrinseche – spiega Loraux – al concetto stesso di politico. Attraverso un intenso lavoro sull’immaginario e sulle rappresentazioni sociali, che Loraux rintraccia nelle pratiche di potere antiche – lavoro tanto sistematico da far parlare l’autrice di una vera e propria ideologia dell’Uno – appare come il politico trovi la propria forza e la propria essenza nella scissione e nel conflitto, configurandosi così come una politica del due. Il due della divisione, della stasis, della presa di posizione. Ma, in modo ancor più fondamentale, un due che è innanzi tutto il due della differenza sessuale.

Indice:

Introduzione – Il politico diviso di Nicole Loraux

I – Pensare l’Altro, pensare l’altrove
1- Senza ringhiera
2- Tra la cité e la polis, Freud
3- La politica del mito
4- E dunque la politica. La divisione, il conflitto, l’oblio
5- Un passo in più. La donna e le fessure della Storia

II – L’Altro, la donna
1- L’alterità come dispositivo politico
2- Pensare la differenza sessuale ad Atene
3- De-realizzazioni
4- Ancora sulla de-realizzazione

III – Il femminile come operatore politico
1- Soffrire come una donna, morire come un uomo. Il corpo virile tra maschile e femminile
2- Tra Omero, Eracle e Platone
3- L’operatore femminile

IV – Il Politico dell’Oblio
1- Alle porte sia la guerra. Il fantasma del conflitto e della divisione
2- Il Politico dell’Oblio
3- Il femminile, il conflitto. La doppia negazione del politico greco
4- Eris e il legame della divisione

Appendice – Atena. Il femminile non è una donna
1- Il femminile divino
2- Atena, dea civica par excellence

Conclusioni – Il due della politica

Bibliografia

Dans l’Athènes classique, la femme est le plus souvent caractérisée par sa discrète soumission, que les « silences de l’histoire » tendent à renforcer. Attachée éternellement à un tuteur (kyrios), la femme passe de la surveillance de son père ou de son frère à celle de son mari. Mais certaines sources permettent de déceler quelques failles, dès lors que la famille athénienne implose sous l’effet d’une tension interne. La tragédie attique permet ainsi de mettre en scène des femmes prenant en main leur destin à l’occasion d’une crise (Médée, Clytemnestre, Antigone), s’émancipant des modèles masculins de domination et s’appropriant même les symboles virils de puissance et de décision, jusqu’à la saisie de l’épée et au meurtre. Les procès d’héritage du IV e siècle av. J.-C. laissent aussi entrevoir des personnalités féminines qui modifient le premier constat d’une totale et irréversible dépendance des épouses-mères de l’Athènes classique.

In brief, if the transformation takes place through subject formation, it is inextricably implicated in the processes of Enactment-of-Order, in the processes of Disciplining in accordance with the Norm. Hence, the locus of opposition to the Norm, the locus of Resistance is outside transformativity, outside the continuous change – it is in fact a static stance. Static in the double sense of the word: “not moving,” but an adjective derivative from the ancient Athenian political concept of stasis meaning a rebellion or a civil war in the polis, suspension of the Polis, of the Order-in-Power (Loraux, 2001). Stasis, meaning both stillness and revolution (στάσις), is a pause in the Normality of the functioning of the State.
The locus of resistance is, therefore, an instance of potentiality for situating oneself with a radical, immanent detachment from the ceaseless auto-generated processes of subjection (of “being a Subject”). Thus, it is situating beyond the instance of transformability. The latter, by definition, belongs to the domain of the Subject; the instance of paused transformation, or of paused subjection, can take place at the level of the Subject as its own Negative, as a crack within the subject formation. What matters is that it is an instance of resistance to transformation (inasmuch as a process of subjection), to change (inasmuch as generated by Norm-in-Power), resistance to movement – it’s a stance of stability, of continuity within the same Self although endlessly involved in the processes of (self-)transmutation.

Resumen: En el presente trabajo se estudia –en un acercamiento en el que la perspectiva de género resulta fundamental– aquello que la celebración democrática de la figura de los Tiranicidas (Harmodio y Aristogitón) tiene para decir acerca de cómo se desarrollaban (y más aún, cómo se esperaba que se desarrollen) los vínculos entre los miembros del cuerpo cívico ateniense. El lazo amoroso que unía a la pareja de los Tiranicidas, las formas en que éste se manifestaba en sus diferentes evocaciones rituales, discursivas y artísticas constituye un excelente pedestal a partir del cual mirar las particularidades de la relación entre eros y política durante la democracia ateniense.
Palabras clave: Atenas – Democracia – Ciudadanía – Tiranicidas – Eros

Abstract: Taking into account the gender perspective, this work analyzes the real and ideals relationships developed between the members of the civic body during the Athenian democracy though the democratic celebration of the Tyrannicides (Harmodius and Aristogeiton). The erotic bond that joint together the couple, the different ways it was recalled in rituals, discourses and artistic objects constitute an excellent standpoint from which we can observe the relation between eros and politics during Athenian democracy. 
Keywords: Athens – Democracy – Citizenship – Tyrannicides – Eros

Der Beitrag zeichnet die politische Kraft von Erinnerung nach, beginnend mit der Entstehung der Möglichkeit von Kultur aus der menschlichen différance im Gegenüber zur Welt (Leroi-Gourhan, Bernard Stiegler). Der Schwerpunkt der Darstellung liegt auf der politischen Bedeutung und Gefährlichkeit von Erinnerung, wie sie in den politischen "Erinnerungsverboten" nach Zeiten von Unrecht und Krieg sichtbar werden - von der Zeit der athenischen Demokratie (N. Loraux) die gesamte abendländische Geschichte hindurch bis zum Westfälischen Frieden und der Zeit nach den beiden Weltkriegen. Als Gegenentwurf zu dieser Form der Stabilisierung von Demokratie auf der Basis von Vergessen (Chr. Meier) wird die ganz andere Sicherung politischer Gemeinschaft und zukunftsgerichteten Handelns auf Basis der "gefährlichen Erinnerung" (J.B. Metz) erfahrenen Unrechts und Leids erkennbar, wie sie im Zentrum der monotheistischen Traditionen dort auftaucht, wo nicht eine identifizierbare Souveränität, sondern gerade die Aufmerksamkeit auf das zugefügte Leid zum Movens politischen Handelns wird.

This book critiques the relation between sovereignty and democracy. Across nine theses, Vardoulakis argues that sovereignty asserts its power by establishing exclusions: the sovereign excludes other citizens from power and excludes refugees and immigrants from citizenship. Within this structure, to resist sovereignty is to reproduce the logic of exclusion characteristic of sovereignty. In contrast to this " ruse of sovereignty, " Vardoulakis proposes an alternative model for political change. He argues that democracy can be understood as the structure of power that does not rely on exclusions and whose relation to sovereignty is marked instead by incessant agonism. The term stasis, which refers both to the state and to revolution against it, offers a tension that helps to show how the democratic imperative is presupposed by the logic of sovereignty, and how agonism is more primary than exclusion. In elaborating this ancient but only recently recovered concept of stasis, Vardoulakis illustrates the radical potential of democracy to move beyond the logic of exclusion and the ruse of sovereignty.

Divergent modulation schemes have been proposed for the Internet of Things (IoT). Low Power Wide Area Networks (LPWAN) technologies are gaining unprecedented acceptance in IoT application of sensor networks. Chirp Spread Spectrum (CSS) is a prominent modulation technique proposed for LPWAN. Chirps can traverse long distance and are resilient to noise and Doppler effects. Noise resilience along with transmission range and low power requirement makes CSS a preferred modulation scheme for sensor networks. LoRaWAN TM , with its physical (PHY) layer using CSS, has emerged as the widely accepted LPWAN solution. By using CSS modulation with orthogonal spreading factors (SF), LoRa offers wide coverage to LPWAN applications while supporting a high volume of devices. However, scalability performance of CSS has not been inadequately modeled. As with the suitability of the modulation scheme, there are concerns on how chirps interact with the surrounding as the number of deployments bursts out into higher volumes. We evaluate CSS at ISM band 868 MHz for spreading factor 7 to 12 at bandwidth 125 kHz for performance and scalability. Simultaneous transmissions were simulated with repeated iterations and conclusions are arrived on collisions rate, packet error rate, and bit error. Suitability of using CSS for sensor networks for future deployments is commended.

Per "quarantacinque anni di filosofia francese" si è svolto un confronto e affronto tra «le même et l'autre». 1 Titolo di una relazione che, tra ontologia ed esistenza, sovrappone, sostituisce, rielabora due serie di tre referenti principali: da un lato Hegel, Husserl, Heidegger, dall'altro, Marx, Nietzsche e Freud. 2 Relazione che esprime preoccupazioni sul senso e sul senso della storia, sull'avvenire della realtà umana e sui suoi vicoli ciechi. Con Nicole Loraux questo antecedente appare in quanto tale, è individuabile, in virtù di una smentita. La dialettica tra il medesimo e l'altro -nei corsi di Kojève e sulla scorta di una certa lettura di Heidegger -statuisce che "la differenza è nella definizione stessa dell'identità. Ma si enuncia in un giudizio negativo". 3 E', in altri termini, il movimento stesso della costituzione dell'identico, dell'identità, è il motore negativo del movimento costituente del soggetto. Il medesimo si appropria dunque dell'altro quale suo elemento costitutivo, lo riconosce e lo assimila. E' su questa precisa articolazione che Loraux esercita una rottura nella continuità, ovvero il mantenimento di un basso continuo con variazioni che inaugurano ben altre combinazioni. E' il primato -tra origine e logica -del même stesso, per quanto «mosso» dall'alterità, che viene messo in questione. Di più, il primato di quella unità viene scalzato, è il di(s)-di un due, di una differenza, di un irredimibile dissidio che precede e costituisce parti, partizioni di soggetti presi tra l'assunzione e il lutto per un Uno impossibile.

I propose here to read The Phoenician Women, one of Euripides' last productions, as a poetic manifesto in which the author illustrates an aesthetics of tragedy in which harmony, as a principle of ambivalence, constitutes the keystone: it presents the multiple facets of a universe regulated by harmony, understood as ajustment, in its fundamental relationship with the conflict that appears in the double form of civil war (stasis that agitates both historical Athens and the representation and the mythical Thebes represented), and family discord (eris which opposes the two brothers Eteocles and Polynices).
Trying to re-establish the ideal conditions of harmony by repressing stasis, the conflict that nevertheless still persists in it, is the challenge from the outset doomed to the failure of this tragedy in which Euripides seems to illustrate the essence of tragic harmony.

Je propose ici de lire Les Phéniciennes, l’une des dernières productions d’Euripide, comme un manifeste poétique où l’auteur illustre une esthétique du tragique dont l’harmonie, comme principe d’ambivalence, constitue la clef de voûte : y sont présentées les facettes multiples d’un univers réglé par l’harmonie, entendue comme accord, dans sa relation fondamentale avec le conflit qui y apparaît sous la double forme de la guerre civile (stasis qui agite à la fois l’Athènes historique de la représentation et la Thèbes mythique représentée), et de la discorde familiale (eris qui oppose les deux frères Etéocle et Polynice).
Tenter de rétablir les conditions idéales de l’harmonie en refoulant la stasis, le conflit qui pourtant toujours perdure en elle, tel est bien l’enjeu d’emblée voué à l’échec de cette tragédie dans laquelle Euripide semble illustrer l’essence de l’harmonie tragique.

This papers aims to be a first and brief introduction to Nicole Loraux's studies on the athenian polis of the V th century. Namely, it tries to depict the image of the city, ideologically portraited as He Polis, Loraux has described in her analysis: an ideological city, born from division but always fighting against it. A city resorting to several strategies in order to maintain safe its civic image: from official discourses to myths, from funeral orations to the open censorship and control of civic memory. A divided, conflictual city, where division acts like a bond, rooted in difference and in the opposition between the Self and the Other, political and not-political. But still, through several dispositifs, able to present itself to its citizen as one, homogeneus, in peace, eternal. What is excluded from this civic vision – namely: women, stásis, bodies, and remembrance – cannot be permanently erased. It always comes back, since the athenian city has a constituive bond with it.

This paper investigates the relationship between sexual difference and stasis as it is
defined by Nicole Loraux in her studies on conflict and politics in classical Athens. As
one of the most influential researcher of the classical city, Loraux has investigated the
relationship between division and oblivion in the Greek political space, pinpointing the
fundamental relationship between politics and conflict and highlighting the division at
the heart of the rhetoric of the “City as one”, Hé Polis, and as an harmonic and rational
space of freedom and logos.

Partendo dall'analisi della teoria dell'enunciazione di Benveniste e di quella degli atti linguistici di Paul Grice, l'obiettivo di questo lavoro è quello di mostrare come non si possa parlare di nonriconoscimento o di dis-conoscimento senza fare riferimento al fatto empirico per eccellenza che è il linguaggio verbale, ciò che permette non solo il "reciproco riconoscimento" fra animali linguistici, ma tiene sempre aperta, attraverso l'utilizzo della parola non, anche la possibilità di nonriconoscersi; ossia può rendere fragile e labile il "reciproco riconoscimento". In questo senso propongo anzitutto il linguaggio verbale come antidoto e veleno al tempo stesso del "reciproco riconoscimento", rivendicando un'analisi della negazione del riconoscimento come "negazione linguistica". L'obiettivo sarà quello di dimostrare come non sia il riconoscimento bensì la negazione del riconoscimento, ovvero il dis-conoscimento, il conflitto, lo iato tra soggetto e mondo, il fondamento della prassi storico-sociale e dell'identità collettiva. Di conseguenza si intende dimostrare come la nostra identità personale, la costituzione del nostro sé non sia un dato originario e certo ma un "compito" mai archiviato una volta per tutte. Infine, vedremo se sia possibile definire l'identità stessa in termini negativi applicando la dialettica riconoscimento/disconoscimento a quella di giuramento/maledizione attraverso le analisi condotte da Benveniste e Loraux.

What means in the contemporary works of the humanities, the inflation of titles beginning with this ambiguous word " invention " ? It seems that an anthropology claiming having got rid of archaeological models praising " Greek inventors " would have to question the meanings of the paradigms of invention. But how can one get rid of an heurematographic archaeology as illustrated by the Altertumswissenschaft and the " Greek Miracle " paradigm ? While considering Gernet's and Vernant's use of " invention " , one may notice that they did not succeed in completely breaking up with a demiurgic and progressive interpretation of history. And if it is more evident in Loraux'and Detienne's works that anthropology is aware of the self-referentiality of its methods, it may be shown that the project of a critical science of 'ideologies' cannot prevail as long as the promethean value of invention strengthens itself in the institution of contemporary research.

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Cette thèse de doctorat porte sur la production littéraire de l’écrivain franco-mauricien J.M.G. Le Clézio au tournant de la décennie 1970. Elle vise à définir une politique de la littérature spécifique au corpus leclézien 1970-1974. Interrogeant la dimension axiologique de l’activité de l’écrivain à cette époque, nous nous intéressons particulièrement au rôle que joue celui-ci dans la formation d’un interprétant politique capable de diriger la réception de son œuvre. Notre travail s’attarde donc à mettre en relation le discours de l’œuvre et le discours de l’écrivain sur son œuvre, sur la littérature en général et sur la fonction sociale qu’il entrevoit pour cette dernière en particulier. Trois chapitres nous permettent de rendre compte de notre travail. Dans le premier chapitre, nous déployons notre cadre théorique et discutons de ses implications méthodologiques. Nous tentons de fonder sémiotiquement l’approche des politiques de la littérature. Dans le deuxième chapitre, nous amorçons notre enquête sur la période en examinant minutieusement la documentation disponible, qui nous renseigne sur la trajectoire de l’écrivain et l’intentionnalité poétique de ce dernier. Nous nous attachons à expliquer les transformations manifestes dans l’œuvre au prisme de ces deux facteurs. Enfin, dans le troisième chapitre, nous produisons des analyses détaillées des textes majeurs de la période (La guerre, Haï, Les Géants, Mydriase), et portons également notre regard sur ceux qui suivent (Voyages de l’autre côté, L’inconnu sur la terre, Vers les icebergs) afin de mieux apprécier les répercussions des changements originaires de la période étudiée. Ce travail nous permet de suivre l’évolution de la poétique leclézienne à travers la décennie 1970 et de déterminer un interprétant politique pour celle-ci.

Entre 1970 et 1974, Le Clézio séjourne longuement au Panamá auprès d’autochtones emberá formant une société sans État. En 1971, il est initié rituellement par un sorcier local aux effets psychotropes de la plante sacrée datura. Cette expérience marque une rupture profonde dans son œuvre. Nous nous attachons à retracer la séquence des événements de cette période sur les plans biographique et littéraire, et suggérons de comprendre les transformations qui surviennent alors au prisme d’un processus d’autonomisation du sujet-écrivain. Cette autonomisation se vérifie dans une altération profonde de la poétique leclézienne, de même que du discours de l’écrivain sur la compétence et la valeur morale de la littérature. Nous nous intéressons particulièrement à la figure de la guerre, par laquelle l’écrivain témoigne de sa vision agonistique de l’existence sociale et dénonce l’aliénation politique qu’impose le régime étatique capitaliste. Pour reproduire par l’écriture les déplacements productifs de la drogue et de l’altérité radicale vécue au cœur des forêts du Darién, Le Clézio développe une poétique du dessillement, dont la visée performative est de transformer notre regard sur le monde. Consciemment médiatrice, son écriture veut mettre en lumière le rapport que nous entretenons aux signes environnants, à notre environnement et à l’imaginaire. Résolu dans son intention d’agir par l’écriture, Le Clézio veut conscientiser ses contemporains occidentaux à l’égard des idéologies qui les régissent sourdement (foi aveugle dans le progrès technique, consumérisme). La trajectoire que notre enquête s’est attachée à retracer montre un écrivain obstiné dans sa recherche de forme dans l’écriture, qui est la quête d’une éthique dans le langage. Militant par son art pour le recouvrement d’une liberté naturelle perdue, c’est un véritable saut que l’écrivain promeut : un saut paradoxal hors du régime symbolique pour atteindre une vérité dans le langage. En définitive, notre enquête nous permet d’affirmer que la politique leclézienne de la littérature de la décennie 1970 est une politique de l’extase.

Mots-clés : J.M.G. Le Clézio, politique de la littérature, sémiotique, guerre, stasis, contre-fictions politiques, pensée sauvage, conscience, liberté, électricité, drogue, expérience écodélique, autonomisation, recherche dans l’écriture, éthique dans le langage, dessillement, extase.

In Memoriam U El diumenge 6 d'abril d'enguany, moria a París, després d'una malaltia llarga i penosa, Nicole Loraux. La tragèdia grega no fou pas, ni de bon tros, el tema únic de la seva brillant activitat investigadora, massa de pressa estroncada; però sí que en fou, certament, un dels aspectes més significatius. Que n'hi hagi prou de citar -deixant de banda un gran nombre d'articles importants -les Façons tragiques de tuer une femme (1983), el seu únic llibre traduit fins ara al castellà, si no m'erro; Les mères en deuil (1990), i La voix endeuillée (1999). Per apel.lar a una experiència molt més directa, la tragèdia fou el tema sobre el qual vàrem conversar més llargament -unes converses, no cal dir-ho, en les quals, a despit de la seva amabilitat exquisida, ella parlava i jo escoltava, bàsicament. En efecte, s'escaigué que, durant la tardor de 1986, Nicole Loraux passà una setmana a Barcelona, dictant un cicle de conferències a la Societat Catalana d'Estudis Clàssics, convidada per Carles Miralles. Fou una setmana molt plujosa, i a mi em tocava d'anar-la a buscar a l'hotel amb un paraigües i acompanyar-la a l'IEC. Jo encara conservava molt viva la fascinació per Eurípides que m'havia encomanat el doctor Josep Alsina; de manera que vaig tempestejar-la amb qüestions i interrogants i ella anava improvisant respostes, sovint enlluernadores. Molts cops m'he lamentat de no haver fixat per escrit, aleshores, aquelles xerrades itinerants; ara, tot el que he pogut fer ha estat re-escriure aquest text i modificar-ne el títol, com a modest homenatge a la seva memòria. 1 Dos El desventurat amor d'Estenebea per Bel.lerofont és ben familiar per a qualsevol que hagi freqüentat mínimament la literatura grega; 2 però la imfàmia que embolcalla nom es 1 Voldria associar a aquest tribut a Nicole Loraux els meus amics Maite Clavo, Montserrat Reig i Jesús Carruesco. Més joves que jo, admiraven també vivament la seva obra i m'han ajudat a apreciar-la millor. 2 A partir d'Homer, naturalment (Il. VI 152 ss.); només que aquest anomena la muller de Pretos i pretendent frustrada de Bel.lerofont "la divina Anticlea", no pas encara Estenebea. Les reconstruccions de la tragèdia que se'ns ofereixen deuen ésser bàsicament correctes, suposo, tot i que, en general, em semblen massa complicades (com sol passar), per culpa de la pruïja dels filòlegs de donar un espai a tots els episodis de la contalla. Per la meva 3 Cf. Snell 1967: 23-46. 4 Cf. Webster 1967: 65 ss. 5 L'argument del Bel.lerofont va, com és ben sabut, per tota una altra banda, que no ens interessa ara i aquí. 6 En aquest sentit, em sembla exemplar el patètic article de J. March "Euripides the Misogynist?" (Powell 1990: 32-75). En canvi, Seidensticker 1995: 151-73 és un pas en la bona direcció, bé que donat, potser, amb una certa timidesa.

In her paper, Alice Pechriggl provides an analysis of Nicole Loraux's peculiar methodology, namely the practice of " controlled anachronism ". A controlled and meticolous use, that allows Loraux to keep into account both historiography and the psychonalitic methodology, in order to investigate the unsaid of the polis, lying underneath civic ideology and politics of oblivion.

Long range wide area network (LoRaWAN) is one of the most widely used low power wide area (LPWA) network technologies operating in the unlicensed ISM band. Its physical layer (that is, LoRa PHY) which is Semtech's proprietary technology uses Gray indexing in LoRa symbol mapping. In this paper, we will investigate the effect of Gray indexing to the performance of LoRa PHY. Specifically, through computer simulations, we will compare FER performances according to with and without Gray indexing in AWGN and Rician fading environments.

Il testo rielabora il nesso tra politica, spazi urbani e corpi sessuati alla luce del concetto greco di stasis e dell'esperienza del Covid-19, interrogando le rappresentazioni che orientano gli spazi e i vissuti urbani attuali. La pandemia impone la risignificazione di esperienze fondamentali della vita associata e mostra come la dimensione spaziale sia elemento imprescindibile della politica; viviamo città inedite e diseguaglianze più violente, in cui perdono efficacia molte delle partizioni della tradizione occidentale. I femminismi ci aiutano a riarticolare tali partizioni e i nessi tra naturale/umano, impolitico/ politico. La stasis fa saltare l'idea di politica ridotta alle sole azioni umane, così come i ruoli di genere, le attività e gli spazi ad essi designati. Questi elementi ci permettono di ripensare la politica e gli attraversamenti urbani nella prospettiva dell'interdipendenza, dell'interazione e del (dis)equilibrio.

Las líneas a continuación tienen la intención de zanjar una de las tan-tas problemáticas exploradas en los escritos de Nicole Loraux. La vehemencia de la problemática a tratar es tal, que sus vientos siguen acechando, y a veces parecieran arrancar de raíz instancias que se mostraban inamovibles. Así pues, los vientos a los cuales nos referimos son las corrientes formadas por un olvido generalizado por la democracia: la obcecación de la στάσις (stásis). Por eso la democracia pareciera instaurarse como el centro; como el ojo de un huracán que ante su pasividad, olvida que su espacialidad sosegada no es más que el epifenómeno de agitaciones intem-pestivas. Es de nuestro parecer que en ello reside la gran intuición de Loraux. La helenista francesa logró establecer, gracias a su combate permanente con la bestia negra del historiador, es decir, con el anacronismo, un diálogo entre el tiempo presente y la Antigüedad. Un diálogo que obliga a poner en entredicho un olvido generalizado sobre la στάσις-el cual implica el establecimiento de un espacio-tiempo político que negando sus características emergentes, de cariz agónico, instaura un pasaje calmo como principio original y fundamento de todo su devenir-que permea y se repite diferencialmente en múltiples épocas. Junto a Loraux, nos encontramos en una instancia en la que tenemos que perder el miedo al anacronismo. Más allá de la imprudencia bajo la que se podría caracterizar este método, la helenista asevera que "para un historiador de la Antigüedad, el presente es el motor más eficaz de la pulsión de en-tender". 1 La audacia del historiador reside en asumir el riesgo del anacronismo. La pregunta entonces es: ¿cómo asumir el riesgo sin abolir la rigurosidad? Para 1 Nicole Loraux, La guerra civil en Atenas. La política entre la sombra y la utopía. Trad. de Ana Iriarte. Madrid, Akal, p. 203.

Divergent modulation schemes have been proposed for the Internet of Things (IoT). Low Power Wide Area Networks (LPWAN) technologies are gaining unprecedented acceptance in IoT application of sensor networks. Chirp Spread Spectrum (CSS) is a prominent modulation technique proposed for LPWAN. Chirps can traverse long distance and are resilient to noise and Doppler effects. Noise resilience along with transmission range and low power requirement makes CSS a preferred modulation scheme for sensor networks. LoRaWAN TM , with its physical (PHY) layer using CSS, has emerged as the widely accepted LPWAN solution. By using CSS modulation with orthogonal spreading factors (SF), LoRa offers wide coverage to LPWAN applications while supporting a high volume of devices. However, scalability performance of CSS has not been inadequately modeled. As with the suitability of the modulation scheme, there are concerns on how chirps interact with the surrounding as the number of deployments bursts out into higher volumes. We evaluate CSS at ISM band 868 MHz for spreading factor 7 to 12 at bandwidth 125 kHz for performance and scalability. Simultaneous transmissions were simulated with repeated iterations and conclusions are arrived on collisions rate, packet error rate, and bit error. Suitability of using CSS for sensor networks for future deployments is commended.

Resumo: Abordagem das três características principais do "universo espiritual da pólis", segundo Jean-Pierre Vernant, sob o ponto de vista da relação entre as mulheres e a pólis, tendo como foco a Atenas clássica. O debate toma como base os argumentos de Nicole Loraux sobre a impos-sibilidade da abordagem de uma história das mulheres no mundo antigo, que, ao mesmo tempo, traz à tona uma operação política de distinção entre masculino e feminino para definir os espaços e os agentes da pólis. Discute-se a possibilidade da compreensão dos valores desse universo espiritual, afirmando a presença política das mulheres na vida comum.
Palavras-chave: História das Mulheres; Atenas Clássica; Jean-Pierre Vernant; Nicole Loraux; Vida Comum.

POLITICS AND THE "COMMON LIFE"
Abstract: Approach to the three main characteristics of the "spiritual universe of the polis", according to Jean-Pierre Vernant, from the point of view of the relationship between women and the polis, focusing on classical Athens. The debate is based on Nicole Loraux's arguments about the impossibility of approaching a history of women in the ancient world, which at the same time brings to light a political operation of distinction between male and female to define the spaces and agents of the polis. It discusses the possibility of understanding the values of this spiritual universe, affirming the political presence of women in common life.
Keywords: History of Women; Classical Athens; Jean-Pierre Vernant; Nicole Loraux; Common Life.