The Bulletin of Hispanic Studies

Published by Liverpool University Press
Online ISSN: 1478-3398
Print ISSN: 1475-3839
In this essay I consider Giménez Caballero’s use of totemism in his collection of avant-garde essays, Hércules jugando a los dados, to be indicative of a desire for radical social transformation. Specifically, I argue that the author’s elaboration of the concept as a renewed ‘primitive’ phenomenon based in technology not only points to early forms of cybernetics in the modern subject’s ‘battle’ with the elements, but also is a key part of a larger social project. I contend that Giménez Caballero sees the reemergence of totemism as a way to reconcile the lower classes and the elite within a fascistic, vertical power structure, in which the hybrid mythical figure of Hercules has already led the way. As an important hinge work between avant-garde aesthetics and political engagement, I conclude that Hércules jugando a los dados offers important insights into the genesis of early fascist ideology in Spain. (Liverpool University Press)
El artículo estudia las formaciones léxicas en -ivo de la traducción castellana que fray Vicente de Burgos hizo en el siglo XV del libro De las Propiedades de las Cosas de Bartolomé Ánglico, importante enciclopedia medieval. Se analiza la presencia y frecuencia de uso de formas como ‘agregativo’ u ‘odorativo’, al lado de ‘creativo’ o ‘nutritivo’, a través de la consulta de otros textos y diccionarios (corpus ADMYTE y CORDE) y de la versión latina del texto, donde se registran ya dichas formaciones. Se revisan los conceptos de ‘latinismo’ y ‘neolatinismo’ aplicados a ese tipo de voces y se plantea, con el apoyo en el texto base de la traducción, que el mantenimiento obedece a la actitud latinizante del autor, que latiniza a través del léxico, de la sintaxis y de la construcción textual. The article studies the lexical formations in — ivo found in the 15th-century Castilian version of Bartholomaeus Anglicus’ De proprietatibus rerum, translated by Vicente de Burgos. The article includes a side-by-side analysis of the occurrence and frequency of forms such as ‘agregativo’ or ‘odorativo’ and ‘creativo’ or ‘nutritivo’ in other texts and dictionaries (ADMYTE and CORDE corpora) and in the Latin version of the text that already register this lexical formations. The articles re-examines the concept of ‘Latinism’ and ‘Neolatinism’ applied to these forms, and, based on the translation, posits that they are preserved due to the Latinizing attitude of the author, seen in the lexicon, syntax, and textual construction.
This study offers a new reading of Carlos Fuentes's Gothic novella Aura with an intertextual approach that focuses on Henry James's The Turn of the Screw and, in particular, on Shoshana Felman's seminal essay on that text. Concentrating on Fuentes's use of the second-person singular narrative - the most striking formal aspect of the text - my reading argües against the common tendency of critics to resolve the identity of the narrator. Instead, this study contends that Fuentes's persistence with the second-person narrative is aimed at replicating a textual practice akin to the Lacanian notion of the text as the Unconscious or the Other. In a way that profoundly echoes Felman's reading of James - the latter an acknow-ledged influence on Aura - the metamorphoses of the characters and, crucially, the narrator in Fuentes's text, can be read as metaphors for transference and, therefore, as an exploration of the process of identity construction via language.
A l'occasion de la parution du premier numero de la revue «Hispania» en 1918, Ramon Menendez Pidal prepara un court article dans lequel il presentait sa conception de la langue espagnole standard : un systeme linguistique unitaire ayant pour base la langue litteraire et l'usage de Castille. L'argumentation insiste sur le caractere unitaire et stable de l'idiome en soulignant, par exemple, que les parlers hispano-americains ne representent pas une deviation importante par rapport au castillan. Selon Menendez Pidal, il n'y a pas lieu d'interpreter les variations du parler populaire comme des indices de fragmentation
The volume of letters written by António Lobo Antunes to his wife during his military commision in Angola is a stunning, moving and powerful collection that raises a number of issues pertaining to authorship and autobiography. In it, we see several constructions of the Self, both those brought about by Lobo Antunes as well as those that issue from the fact that the letters have been edited by his two eldest daughters at the injuction of their mother. Just as Lobo Antunes frequently says that he writes from the end of the world and until the end of the world, so this collection of love letters forces readers to confront a multitude of theoretical questions around the interconnected concepts of Self, authorship, and authority.
L'A. examine la periode 1180-1230 durant laquelle est nee l'idee d'une utilisation des nouvelles formes ecrites romanes dans la chancellerie castillane. Cette idee provient du fait que les premiers documents intentionnellement ecrits dans la forme romane, appelee aujourd'hui vieil espagnol, masque le caractere revolutionnaire de l'usage de cette forme a l'epoque de la redaction des textes
In this article I attempt to show that the prime mover of the 'loving encounter' ('encuentro amoroso') in the Spiritual Canticle of John of the Cross is found in the second hemistich of the second verse of stanza 13 (Canticle B): 'Return, dove' ('Vuélvete, paloma'), the first Bridegroom's intervention. This imperative causes the Bride to pass from the initial reaction of her rebound - 'withdraw' ('apártalos') to a view through the Beloved (passing from the outside to the interior world); and to formulate a series of requests, before her seclusion, in stanza 19. The imperative 'return' is also the cause of the second intervention by the Bridegroom, which closes this loving encounter ('cease', 'do not touch' and 'may sleep'). 'Return', therefore, weaves an entire net of syntagmatic and semantic-pragmatic connections, not only in stanza 13 but also in the whole ensemble (stanzas 13-21).
Despite being pivotal to the destiny of the characters, el padre Rentería remams a frequently ignored character in studies of Rulfo's novel Pedro Páramo. His emotional and intellectual complexity malee him the ideal vehicle for Rulfo's ironic treatment of the manicheistic rhetoric of Church and state in post-Revolutionary Mexico. His complicity with the cacique Pedro Páramo opposes the Church's favoured image of the priest as a pious martyr. However, his anguished sense of responsibility towards his parishioners also fails to accord with the state's projection of the self-centred priest who connives with the local cacique. Whilst the Church's martyrological image is based on desire (positive iconography), the state's demonised projection is based on both desire and fear (fetishistic stereotyping). In this article I contend that Rulfo uses verbal and situational irony in Fragment 14 of the novel to create an image of the post-Revolutionary priest which subverts those projected by the rhetoric of Church and state.
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