La mitificación occidental de Saladino: Un viaje por las principales literaturas románicas de los siglos XIII y XIV

This article deals with the figure Ṣalāḥ ad-Dīn, Saladino or Saladin and his reception in European cultures. It describes its function as myth which reappears in distinct shapes in relation to local realities and nevertheless also exhibits general features of the European cultural identity.

Picasso y Cornuty. La absenta como adicción cambiosecular europea

Electricity coined the nightlife in the European capital par excellence in the late nineteenth and early twentieth century: Paris. Under the artificial reflection dandies, elegant workers, and bohemians flocked to the new playground. Painters, converted to urban chroniclers, show pictorial modernity and vitality; in the canvas of Manet, Toulouse-Lautrec, Degas or Jean Béraud we see a common element: the glass of absinthe on the table. The absinthe took sacrosanct dyes in the daily living of Parisian habitants and became an indispensable ritual to Henri Albert Cornuty, a poet who was part of the Madrid bohemian and in the gallery of disinherited that Picasso painted in blue stage. A writer and a painter that bring us to the drink-image of the intelligentsia of the time; this elixir was attributed with hypnotic, aphrodisiac and hallucinogenic powers; the myth of absinthe was part of the imaginary Paris at end of the century, an iconography that continues shaping identity in the twenty-first century.