Lo fotográfico en la narrativa contemporánea de lengua francesa: P. Modiano, A. Makine y A. Ernaux

The goal of this study is to define the photographic dimension as a transversal notion that accompanies texts and carries out a function that is narrative, discursive and even poetic, and as an unambiguous analytical tool that allows an understanding of the function of the photographic image in contemporary fiction. How does the photographic dimension act within a text of fiction? How does it guide it, define it, and eventually, transform it? How is the space-time element of a text influenced when the photographic dimension affects the heart of the story? How does the status of the photographic image change when it is blended with the fictional text, and how is a text reorganized in light of the photographic dimension? What interpretations are made possible by the analysis of the photographic dimension? Is it possible to narrate and read a photograph without having to see it, or to what extent does a photograph in plain view determine the writing and reading of the story? In short: What writing and reading digressions are caused by the presence of photographs within a literary text; what is their role, for example, in the activation of memory, of a dream-like state or of identity, and what symbolic dimension is introduced?...

La adaptación teatral de textos narrativos en España, 1972-2012

Novel or story adaptations and also dramatic texts versions, that need to be translated and updated to modern audiences are quite frequent in today`s theatre. This study aims to show the state of contemporary stage adaptation of narrative texts and, specifically, its evolution in Spain in the last forty years (1972-2012). To do this, I have tried to gather, first, all the terminology associated with the concept of stage adaptation: version, dramaturgy, rewriting, translation, interpretation, updating and consolidation. The theoretical part of the work begins with the various definitions of the concept of dramatization. All the positions reflected by theorists and specialists in the field come together when explaining the term adaptation or theatre version: the intervention on the original text is based on the transformation or change, radical or superficial, for its effective representation in the theatre. In contemporary times, the concept of adaptation applies to any kind of intervention, from the translation of the original (and rewriting) to the dramaturgical work involved in creating a new sense. In turn, any theatre adaptation requires a dramaturgical operation and supports all possible moves: reorganization of the story, breakage, reduced characters, dramatic concentration, incorporation of foreign texts, installation and collage, changes to the plot, etc. Although there is no definitive model for the theatre adaptation of works, several authors and theatrical theorists propose guidelines and types of adaptation to the transformation of a work into another or one genre into a different one; and regarding narrative texts, provide criteria for interpreting the original text. The issue for many authors is the danger of modifying or betraying the sense or the form of the original text, considering it as simple material for the play. Finally, it follows that there is affinity of thought among authors finding that there is no differentiation between adaptation and version: both terms refer to the same in the theatrical event and are also terms used equally for the countless film adaptations of novels and plays...

Enea Silvio Piccolomini en España. Con la edición del "Tratado de la miseria de los cortesanos", (Sevilla, Cromberger, 1520)

As it is well known, the Renaissance in Spain cannot be understood without a deep knowledge of the Italian quattrocento: art and thinking have an important debt with a culture that shaped a new society that can be named Modern Era. So, there are many intellectuals that are the main reference to our writers: Leonardo Bruni, Giannozzo Manetti, Bartolomeo Facio, Antonio Beccadelli, Poggio Bracciolini, Francesco Filelfo, Flavio Biondo, Lorenzo Valla, Vespasiano da Bisticci, Pier Candido Decembrio, Guarino da Verona, Pico della Mirandola, Marsilio Ficino, and a big number that includes necessarily the name of Enea Silvio Piccolomini (1405-1464). In effect, the creator that became Pope as Pío II is one outstanding figure of that Humanism that early putted down roots in Spain, a country in construction that produced very important fruits in those years. Under these circumstances, this study has as main objective to analyse the large work of the humanist Pope par excellence, and to establish the relationship between his writings and genres, works and authors in the Iberian peninsula that wrote under his influence. Furthermore, in the following pages can be found a edition of the translation, by Diego López de Cortegana, of one of Picolomini’s works, the Tratado de la miseria de los cortesanos, a work that can be taken as an example of the attention payed to his works by authors like Juan de Lucena, Rodrigo Sánchez de Arévalo, Cristóbal de Castillejo or fray Antonio de Guevara. After a brief introduction that points that the attention to Enea Silvio Piccolomini is not diminishing, that, on the contrary, is clearly alive if we consider modern editions and translations to different languages, I concentrate on the biography of Pío II. With this purpose I take as base the text that this humanist wrote with the aim of building an adequate imago vitae that related the achievements in the religious sphere (with a failed promotion of a last crusade against the Turk) and also his creative labour. I refer to the Commentarii rerum memorabilium quae temporibus suis contingerunt, an extensive autobiography that did not spare the self-praise and conceals some controversial author’s facts, such as the “reconciling” thesis that undermined the Popes authority and power. In addition, in that chapter can be found a study of the writing process of the titles that includes Piccolomini’s bibliography, since we can think that the author’s commentary is extremely relevant to inform about the moment of writing and its purpose...