Quevedo, Francisco de, 1580-1645. Tres musas últimas castellanas -- Criticism, Textual.
Quevedo was the only Spanish writer who composed a sequence of silvae in imitation of Statius. This sequence was published in Las tres musas últimas (1670), fifteen years after the author's death. Although this posthumous edition has some inconsistencies and wrong attributions, it offers the most reliable source for a critical edition. However, modern editors of Quevedo's poetry have modified its arrangement by removing some of the poems and transferring them to other sections, thus imposing a thematic criterion upon a formerly classical unit. The aim of the present article is to reconstruct the original corpus of Quevedo's silvas.
Cervantes Saavedra, Miguel de, 1547-1616. Don Quixote.
Sierra Morena (Spain) -- In literature.
Labyrinths in literature.
In the labyrinth that emerges from the wilderness of Sierra Morena, Cervantes creates an iconoclastic artifice that highlights the theoretical and aesthetic concepts of both the imitation and invention of literature. In the labyrinthine Sierra Morena, Don Quixote attempts to imitate Amadís and Orlando, yet through his hybrid mimesis, he becomes an inventor of narrative labyrinths. The prolific allusions to labyrinths are not only emblematic of the narrative threads that are intricately interlaced throughout Sierra Morena and Don Quixote, but they also evince Cervantes' invention of the first modern novel, which may be termed a metalabyrinth of fictions.
Cervantes Saavedra, Miguel de, 1547-1616. Trabajos de Persiles y Sigismunda.
Satire, Spanish -- History and criticism.
Cervantes Saavedra, Miguel de, 1547-1616 -- Characters -- Clodio.
El personaje de Clodio, poeta satírico y maldiciente del Persiles, encarna los defectos que Cervantes atribuía a la sàtira. El autor del Quijote atacò constantemente esta modalidad en sus obras, pues para él representaba la negaciòn de los preceptos bàsicos que deben sustentar la literatura. Clodio funciona como una alegoría negativa, y su estudio permite aclarar el significado que Cervantes atribuía a la sàtira y, al mismo tiempo, desvelar los ideales estéticos y morales que justifican este rechazo.
Unamuno, Miguel de, 1864-1936 -- Political and social views.
Spain -- Race relations.
Nationalism -- Spain.
Taking as its point of departure the Spanish expression "negra ingratitud de los cubanos," this article analyzes Unamuno's intellectual leadership with a focus on his attitude toward Blacks, which drastically changed throughout his career. If until 1932 Unamuno omitted Blacks from his concept of "Hispanoamericanidad," employing a verbal arsenal partaking of the usual colonialist diatribes, soon thereafter, in large measure owing to his encounter with Nicolàs Guillén, the Spanish philosopher would reverse his position. Living proof of how destiny can be surprisingly ironic, Unamuno became a crucial agent in the redefinition of the literary canon regarding the frequently dismissed "son cubano."
Unamuno, Miguel de, 1864-1936. San Manuel Bueno, mártir.
Many readers of San Manuel Bueno, màrtir, the story of a priest who does not believe in the religion he preaches, have equated the character Manuel Bueno with the author Miguel de Unamuno, a serious conceptual error. After a review of criticism and some theoretical considerations, I propose an understanding of the work as an indictment of conservative ideologies that would keep the masses in believing ignorance. Important to my understanding is the role of the narrator: àngela. The discursive control assumed by this female narrator provides a positive alternative to the negative lesson of the unbelieving priest.
In this essay, I argue that Rivera's novel shows the Amazonian rainforest as a textual corpus, both a repository of writing and a sexualized body overwritten by history. Through the always contradictory and self-parodying narrative of Arturo Cova, La voràgine traces a genealogy of exploitation and its legitimating discourses from the moment of conquest to the Rubber Boom. Rather than a true representation of the Latin American natural space, La voràgine seeks to question the very concept of truth, revealing the Amazon as a space always already written by the linguistic violence of modernity, colonialism, and patriarchy
I offer a new interpretation of Elena Garro's Los recuerdos del porvenir (1963) by reading it as a political critique of the tense relations between class consciousness and national consolidation. To do so, I read her novel against the nation form as theorized by Ernest Renan in his speech, What is a Nation? (1882). I argue that Renan's insufficiently executed turn against race blunts the force of his argument regarding the nation form, a contradiction that Garro's novel highlights. Ultimately, Renan's theory of the nation is based on a kind of consensual alliance that Garro represents as a near impossibility.
Latin America -- Intellectual life -- 20th century.
Literature -- History and criticism -- Periodicals.
La revista Mundo Nuevo se posò en el campo literario con un intelectual diferente al de Casa de las Américas o Marcha, creando una versiòn estética de la nueva narrativa. Al publicitarse que la publicaciòn era financiada por la CIA, Rodríguez Monegal renunciò a la direcciòn y se generò un àmbito de polémicas que intentaron redefinir el "boom" literario diferenciando al "crítico" del espacio estético y del mercado. Este artículo analiza estas luchas que constituyeron un capítulo fundamental de la "guerra fría" en relaciòn al "boom" latinoamericano.
This essay examines the Argentine film 76 89 03, whose release in 2000 stirred up a violent controversy in Argentina. Focusing on the film's representation of school, family, and advertising discourses produced during the dictatorship, and exploring the film's relationship to the comedias picarescas (a film genre approved by the military), I analyze the rereading that 76 89 03 offers of the way in which the last military dictatorship may have paved the way for the neo-liberal transformation of Argentina in the 1990s.