Aspectos cognitivos en torno a la novela y el cine de la memoria histórica: "La voz dormida" de Dulce Chacón y su adaptación fílmica

Culture, history, and biology are inseparable. Cultural manifestations are necessarily immersed in a context, originate in the embodied minds that create them, and are directed to the embodied minds that receive them and recreate them within their contexts (individual and collective). The novel and the film of historical memory in Spain aim to connect their audiences with a problem that has not been solved, as the Civil War, the postwar, and the pact of forgetfulness left a wide sector of the Spanish society voiceless. During the last few years, a series of initiatives coming from the arts, as well as other realms such as the legal, have sought to reexamine the unhealed wound that still haunts Spanish subjects. La voz dormida [The Sleeping Voice] is one of those initiatives. It begins as testimony, develops into a hybrid and intertextual novel, and later becomes a film. It constitutes an inclusive project, one of offering an alternative version to the “official history”, while incorporating the marginal voices of women that had been left out of the memory of the war and the dictatorship. Objective and Results By examining both the literary and the cinematic versions of Chacón’s work I aimed to evidence the connections that exist between the artistic portrayal of the postwar repression (particularly how it affects women) and the current movement of recovery of historical memory in Spain. Specifically, I was interested in showing how both the novel and the film employ a series of narrative strategies that emphasize the body and intentionality, with the purpose of creating in readers and spectators an empathetic response that may lead to prosocial behavior. In order to carry out this interdisciplinary study, which relates fiction, mind, and socio-historical context, I draw on cognitive theories of literature and film, as well as theories from social and developmental psychology, such as the Richard Gerrig’s theory of narrative experience, Keith Oatley’s psychology of fiction, Suzanne Keen’s theory of narrative empathy, and the empathy-altruism hypothesis, derived form the ideas of Jean Decety, among others...

Recent landscape evolution at the "Barranco del Río Dulce Natural Park" (Spain). Landscape units and mapping

Landscape units based on the visual features of the relief have been distinguished in the “Barranco del Río Dulce Natural Park” (Spain). These units are geomorphic entities composed of several elementary landforms and characterized by a visual internal homogeneity, and contrast with other landscape units in their location, height, profile and gradients, reflecting their different evolution and genesis. Landscape units bear some subjectivity in their definition and in their boundary location due to the overlapping of geomorphic processes along time. Visual, compositional and conventional boundaries have been used for mapping. Neogene landscape evolution mainly occurred through thrust faulting at the Iberian Ranges-Tagus Basin boundary, driving tectonic uplift and erosion of the Ranges and correlative sedimentation in the Basin. Erosion of the Ranges occurred with the development of planation surfaces, leaving minor isolated reliefs in the upland plains landscape. The lowering of the base level, caused by the endorheic–exorheic transition of the Tagus Basin in the Pliocene, originates fluvial entrenchment and water table lowering with development of the first fluvial valleys and the capture of karstic depressions. Two subsequent phases of renewed fluvial incision (Pleistocene) lead to abandonment of some Pliocene valleys, fluvial captures, and development and reincision of tributaries