<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0253-9276</journal-id>
<journal-title><![CDATA[Universidad de La Habana]]></journal-title>
<abbrev-journal-title><![CDATA[UH]]></abbrev-journal-title>
<issn>0253-9276</issn>
<publisher>
<publisher-name><![CDATA[Dirección de Publicaciones Académicas de la Universidad de La Habana (Editorial UH) ]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0253-92762023000200007</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[¿Son los epigramas ecfrásticos meras copias de copias? La representación de Níobe en cerámica, escultura y epigramas helenísticos]]></article-title>
<article-title xml:lang="en"><![CDATA[Are Epigrams about Art mere Copies of Copies? The Representation of Niobe in Ceramic, Sculpture and Hellenistic Epigram]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Iff-Noël]]></surname>
<given-names><![CDATA[Flora]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Florida  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Estados Unidos</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2023</year>
</pub-date>
<numero>297</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_arttext&amp;pid=S0253-92762023000200007&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_abstract&amp;pid=S0253-92762023000200007&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_pdf&amp;pid=S0253-92762023000200007&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN El concepto de mímesis que estructuraba la estética antigua experimentó un cambio significativo en algunos epigramas ecfrásticos helenísticos: cuando las estatuas se esforzaban en ser copias perfectas de su original, estos poemas cortos les dieron una voz para declararse tan llenas de vida como sus modelos. Lejos de ser copias de copias de copias, como lo entendería Platón, estos poemas sobre obras de arte llegan a proclamarse más vivos que el original mismo, lo que nos permite una reflexión sobre verdad e ilusión, copia y original, vida y arte. Este trabajo se centra en el elocuente ejemplo de las representaciones de Níobe en escultura, cerámica y epigramas. Según el mito, sus hijos fueron asesinados por Artemisa y Apolo después de que Níobe presumiera de tener más descendencia que Leto. En su angustia, Níobe quedó petrificada por el dolor. Este mito, entonces, complica aún más la ilusión de vida que producían aquellos epigramas: ahora no celebran solo una representación que parece viva, sino también la vívida representación de una muerte.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT The concept of mimesis that structures ancient aesthetics finds a new turn in some Hellenistic ekphrastic epigrams: when statues were striving to be a perfect copy of their original, these short poems gave them a voice to emphasize how they could become as full of life as their original. Far from being a copy of a copy of a copy, as Plato would put it, these poems about artworks seem to be more full of life than the original itself, thus triggering a reflection on truth and illusion, original and copy, life and art. This paper focuses on the striking example of the representations of Niobe, in sculpture, ceramic and epigrams. According to the myth, Niobe&#8217;s children were killed by Artemis and Apollo after she boasted that she had more children than Leto. Niobe was then petrified by her grief. The challenge of representing the decisive instant between life and death was accepted by ceramists and sculptors. Those artworks in turn inspired epigrams by Theodoridas, Meleager and others who insisted on the powerful representation of lifelike death: the only reason why the artists did not make their artworks breathe is because they wanted to represent breathless corpses.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[epigramas ecfrásticos]]></kwd>
<kwd lng="es"><![CDATA[ilusionismo]]></kwd>
<kwd lng="es"><![CDATA[mímesis]]></kwd>
<kwd lng="es"><![CDATA[mitología]]></kwd>
<kwd lng="es"><![CDATA[Meleagro de Gadara]]></kwd>
<kwd lng="es"><![CDATA[Níobe]]></kwd>
<kwd lng="es"><![CDATA[texto e imagen]]></kwd>
<kwd lng="en"><![CDATA[ecphrastic epigram]]></kwd>
<kwd lng="en"><![CDATA[illusionism]]></kwd>
<kwd lng="en"><![CDATA[mimesis]]></kwd>
<kwd lng="en"><![CDATA[mythology]]></kwd>
<kwd lng="en"><![CDATA[Meleager of Gadara]]></kwd>
<kwd lng="en"><![CDATA[Niobe]]></kwd>
<kwd lng="en"><![CDATA[text and image]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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