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Aquesta tesi pretén demostrar que l’Odissea constitueix un dels eixos vertebradors del cinema modern, ja que actua com a signe des del qual s’estableix un paradigma interpretatiu de la pròpia modernitat cinematogràfica i com a focus de noves formes artístiques i nous continguts temàtics. El film que ho fa possible és Le Mépris (1963) de Jean-Luc Godard. Per fonamentar-ho, s’hi han investigat dos aspectes clau: la influència de Roberto Rossellini i l’evolució del cinema italià de la mà d’Antonioni i Fellini, i el diàleg establert entre l’obra de Godard i la novel•la de la qual parteix, Il disprezzo (1954) d’Alberto Moravia. Aquestes dues línies d’anàlisi reconeixen com a comú denominador el tractament temàtic del sentiment del menyspreu, esdevingut símbol de l’evolució de la parella en la segona meitat del segle XX i de la metàfora del buit i de la crisi de valors de l’època. This thesis aims to demonstrate that the Odyssey is one of the backbones of modern cinema as it acts as a sign from which it establishes an interpretative paradigm of modern cinema itself and as a source of new artistic forms and new thematic content. The film that makes this possible is Le Mépris (1963) by Jean-Luc Godard. In support of this, two key aspects were investigated: the influence of Roberto Rossellini and the evolution of Italian cinema through directors Fellini and Antonioni, and the dialogue established between Godard's work and the novel from where it starts, Il disprezzo (1954) by Alberto Moravia. These two lines of analysis have one common denominator: The way in which the feeling of contempt is treated, by becoming a symbol of the evolution of couples during the second half of the twentieth century and also of the metaphor of the void and of the crisis of moral values from that time period.

Odiseo llegó a Itaca en el texto de Homero y también en la Odisea moderna. En realidad, ya había llegado ya cuando se inicia el nuevo poema. Itaca conserva la simbología que tuvo en el texto homérico, pero adquiere un nuevo rol. En la isla, Odiseo reafirma su identidad: es el mismo héroe que participó en la guerra de Troya y después luchó contra adversidades y tentaciones durante diez años, sin perder la voluntad de retornar a la tierra y al hogar. Reconoce su territorio, sepulta a su padre, casa a su hijo. Pero, además, ahora es el punto de partida. Desde ella sale Odiseo en el nuevo viaje, acaso más largo que el antiguo y sin regreso. La isla amada sigue siendo la isla amada. Amándola, la deja el antiguo héroe. Y en su larguísima travesía hacia la muerte en los hielos antarticos, la recuerda no pocas veces. Odysseus reaches Ithaca in the Homeric text and also in the modern Odyssey. He had really reached there when the new poem begins. Ithaca preserves the symbology which had in the Homeric text, but it acquires a new role. In the island, Odysseus reaffirms his identity: he is the same hero who participated in theTrojan war, fought against adversities and temptation for ten years, without losing the will to return to his land and home. He recognizes his territory, buries his father and accompanies his son in the latter s wedding. Now it is also the point of departure: Odysseus sails from it in a new voyage, perhaps longer than the previous one and with no return. The beloved island remains as such. Loving it, the hero abandons it. In his very long voyage to death on he Antarctic ices he often remembers it.

Two assemblies in Ithaca are described in the Odyssey. The first is the one that summoned by Telemachus, through counsel of the goddess Athena. In it he called for the suitors to abandon their home and asked to give a boat so he could go out in search of information about his father, Odysseus. The second is the one that the relatives of the suitors gathered to call for revenge. In this article are discussed the role of these assemblies as organizational forms of society Ithaca figured in the poem. We discuss mainly as the ideas expressed by the words dēmion (public) and ídion (private) are articulate in the text and to what extent the space represented by the agora (assembly) relates to the organization models of the Greek polis. Na Odisseia são descritas duas assembleias em Ítaca. A primeira é a que foi convocada por Telêmaco, por conselho da deusa Atena. Nela, ele clamou para que os pretendentes abandonassem sua casa e solicitou que lhe fosse fornecido um barco para que pudesse sair em busca de informações sobre seu pai, Odisseu. A segunda é a que os parentes dos pretendentes se reuniram para clamar por vingança contra Odisseu. Neste artigo discute-se o papel dessas duas assembleias como instâncias organizativas da sociedade de Ítaca figurada no poema. Será abordado, principalmente, como nelas se articulam as ideias expressas pelos vocábulos dḗmion (público) e ídion (privado, particular) e, em que medida, o espaço representado pela agorá (assembleia) relaciona-se com os modelos organizativos da pólis grega.