Biografía inédita de Francisco de Quintana: recuperación de un novelista olvidado

Este artículo pretende desvelar datos inéditos de Francisco de Quintana, escritor del seiscientos escasamente estudiado por la crítica literaria hasta nuestros días. La investigación, a partir tanto de fuentes primarias como de su obra literaria, ha supuesto el hallazgo de información sustancial sobre este íntimo amigo de Lope de Vega. Además de aportar nuevos testimonios biográficos, esta comunicación interrelaciona acontecimientos fundamentales de su vida con su obra literaria.

La imagen de España en la novela de viaje "Cabo de Gata" de Eugen Ruge

Este artículo presenta un análisis de la imagen de España trazada en la novela Cabo de Gata (2013). Con ello se toma en consideración un género que, hasta ahora, ha recibido poca atención en la investigación de la imagen de España en la literatura de viajes alemana. El foco del análisis lo constituyen tanto el motivo del viaje como la percepción y representación de lo ajeno español. Por último, el análisis narratológico de los diversos aspectos seleccionados de la técnica narrativa nos servirá para delimitar la repercusión imagológica de la novela.

A couple of embroiled sheets of Miguel Barnades Manaider and Esteban de Prado in the Herbaria of Real Colegio Alfonso XII of San Lorenzo de El Escorial (Madrid)

In this paper we present a couple of sheets of Umbelliferae that are preserved in the RCAXII herbaria. One of them, Selinum carvifolia, where collected in the Gredos Mountains by Miguel Barnades Mainader and was identified by his son Miguel Barnades Clarís. The other, Tragium flabellifolium, was collected in Mieres (Asturias) by Esteban de Prado and identified by Mariano La Gasca.

The “re-socialization” of Gypsy women in the literacy courses aimed to the recipients of the Social Integration Revenue Policy of the Region of Madrid

This article studies the gender values that are promoted both in the literacy courses for gypsy women beneficiaries of the Social Integration Revenue Policy of the Region of Madrid and in the events that are organized for this group by public institutions and NGOs. The process of “socialization” that occurs in the educative groups for Gypsy women is focused on constructing an image of what it is to be a “Gypsy modern woman”. Through multiple mechanisms and discursive techniques a specific conception of gender equality is transmitted in these educative spaces. In addition to this, Gypsy women are continually urged to assume certain values and social practices (of gender identity, of "citizenship", of parenting, etc..), while an archetype of "Gypsy Woman" which condenses powerful stereotypes and prejudices about the "Gypsy culture" and the gender relations characteristics of this group is constructed.

Scientifi c discourses on chronic pain without organic cause Incorporating gender perspective for pain resignifyng-repoliticizing

Chronic pain, without any organic or physical cause (DC), which in psycho-medical terminology is known as fi bromyalgia, (FM), is diagnosed each year to a considerable number of women in capitalistic societies. Our main interest in the following paper is to go in depth in the elaboration of this symptom, its treatment and the psychosocial effects, both in the social order as well as in the lives of the people who suffer from it. Our main goal in the following paper is to look deeper in the elaboration (conceptualization) of this symptom, its treatment and psychological affects, both in the social order as well as in the lives of the people who suffer from it, we are using linked speeches in Spanish magazines publications. The result has been the emergence of three hegemonic discourse positions: One position “scientist”, one “therapeutic of the conformity” position and one “economic and legalistic” position. Each of these has a specifi c feature, but on the whole, is enhanced, producing effects such as the absence of social context to explain the disease; disregard of gender differences in the management and treatment; the instrumentalization of pain to legitimize their practices and the subjection of women to the “psycho-biomedical” paradigm. In that way, a new signifi cance and politicization of the concept of pain is proposed.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

Rubén Darío's new unpublished and unknown documents: on La "Isla de Oro", the "Poema del Otoño" and the years of "Mundial"

This article studies and reproduces a group of documents that includes some hand-written and typed texts most likely authored by Rubén Darío, along with others where Darío’s authorship can be easily contested. These documents seem to have originated during the years of Mundial Magazine (1912-1914), and besides the interest for their probably unpublished nature, they also show the cooperation between Darío and his collaborators in the preparation of his original manuscripts right before being sent to the publishers.

Leopoldo Panero and his antology of the Spanish American Poetry. A “personal” reading of America

El presente artículo trata de ofrecer una lectura estética y política de la Antología de la poesía hispanoamericana que publicara Leopoldo Panero entre 1944 y 1945 bajo protección gubernamental. Para ello se parte de la particular biografía del escritor astorgano, su relación en los años treinta con los poetas hispanoamericanos –especialmente Vallejo y Neruda– y su gira por América ya como supuesto prohombre del régimen franquista en 1949 y 1954. La lectura sistemática de sus prólogos y selección de poetas revela la particular visión de Panero sobre Hispanoamérica, mediatizada por el concepto imperial de Falange pero formulada bajo su propia visión de lo que la lírica americana representa para la lengua castellana. Se sostiene así en estas líneas la tesis de que los postulados de Panero representan, a pesar de todo, una opción mucho más compleja de lo que se suele considerar.

La Ciudad de México en las crónicas de José Joaquín Blanco

Este artículo analiza la imagen de la Ciudad de México configurada en la crónica mexicana a partir de los años setenta en especial en los textos de José Joaquín Blanco. Se detiene en el modo en que el género afronta la realidad de una megalópolis que ya solo puede ser asumida de modo fragmentario y múltiple. Entre la utopía y una visión apocalíptica de la ciudad, la crónica reconfigura el espacio y el tiempo urbanos, y formula una nueva identidad crítica gracias a la habilitación de espacios de expresión posibles dentro de las nuevas ciudades modificadas por el capital.

La lógica poética. Una fenomenología del pensamiento artístico

We tried to extend the notion of truth, from the rational concept towards the subjective one. We not only exist by the thought, but also by the feeling. If we apply the scientific method to everything, we remain without art. We want to adhere ourselves to the intimate experience of the subjective thing. In art, the eye introduces the perspective and eliminates the interpretation possibility. Something similar happens with the matter: verb is to matter as name is to form. The Academy has given importance to the form, and it has forgotten the poetical qualities of the matter; it has focused on the figure and it has forgotten the background. However, we have to pay attention to the accidental thing, to the rupture of the protocol, to the frenzy of everything that is alive. For this reason, we pay attention to our intuition, to the sleepy subsoil of our ordinary experience whose inertia has lost the disruptive value of the action. At the end of this article we offer practical exercises, with which we wish to revitalize our centres of attention.