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Copyright of Recial is the property of Universidad Nacional de Cordoba, Centro de Investigaciones, Facultad de Filosofia y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nova Tellus is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Culture, Language & Representation / Cultura, Lenguaje y Representación is the property of Universitat Jaume I and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moenia: Revista Lucense de Lingüística & Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Universitas Philosophica is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to explore the deep inwardness of the exile in the poems and language of the Uruguayan writer Cristina Peri Rossi. In order to understand the key points of Peri Rossi's poetics, it will be necessary to reconstruct and retrace the historical matrix that generated her departure from the South American country: the harsh repression of civil rights in the early seventies, forced the writer to travel to Barcelona. The linguistic dimension pursued in such works as Descripción de un naufragio, Diáspora (1976), La nave de los locos (1984) and Estado de exilio (2003) builds the pieces of an articulated semantic puzzle that becomes the bearer of one of the most tragic human experiences. [ABSTRACT FROM AUTHOR]

Copyright of Epos is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Love, corporality, and eroticism, oscillating in their ethical and aesthetic configuration between tradition and modernity, are present throughout the seven decades of poetic production of the Catalan poet Ana María Martínez Sagi (1907-2000). It is so in her pre-war work, Caminos (1929) and Inquietud (1932) and, more prominently, in her work of exile and return to the homeland, on which this paper focuses on. Although Sagi's love poetry demonstrates her complex and contradictory debt to both the Castilian love tradition and modern poetics, it is through her approach to eroticism, the corporality and the subject's identity from where she definitively distances herself from them. She approaches heterodox spaces that destabilize that normative framework in which the critics of her time placed her. In her aesthetics, in her heritage, and worldview, Sagi demonstrates great modernity and relevance as a renovator, since the 1930s, of an alternative intimacy: profoundly queer. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista la Palabra is the property of Revista la Palabra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Entrehojas: Revista de Estudios Hispánicos is the property of Western University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Uruguayan writer Blanca Luz Brum was an active part of the cultural and socio-political life of different Latin American cities for several decades. However, her ideological estrangement from socialism, as well as her intense love life, earned her disqualification and oblivion. The aim of this paper is to rescue her figure through the analysis of her texts published in the magazine Amauta between 1926 and 1929, taking into account the author's poetics and the role that her poems occupy in the magazine. The study will reveal the double aspect of her poetry: one that is political, gimmicky and has a propagandistic and mobilizing character; and the personal one, which is more complex, deep and reflects the most intimate side of Blanca Luz. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes the ideas about literary theory by Juan Valera in is Estudios críticos sobre literatura, política y costumbres de nuestros días, published in 1864. Mimesis, anamnesis, criticism of the Neoclassicism and Romanticism, literature aesthetic purpose, l'art pour l'art theory or verisimilitude, are among the concepts studled in this paper. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento y Cultura is the property of Universidad de la Sabana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apuntes Universitarios: Revista de Investigación is the property of Universidad Peruana Union Filiar Tarapoto and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Signo is the property of Universidade de Santa Cruz do Sul and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reflects on the notion of good and bad characters in a fictional world. The study is done from a humanistic perspective and considers the poetic proposal of Juan José García-Noblejas (1982) and Paul Ricoeur (1987). The paper suggests that a character is good as long as it serves the world of fiction in which it is, whereas the world of fiction is good - in the sense of complete - insofar as it is able to "do justice" to the part of human life it represents. [ABSTRACT FROM AUTHOR]

This paper aims to elucidate the role of late Antique poetry in the social construction of the Barbarian "other", a crucial point in the identity crisis of the late Roman Empire. To this end, I focus on Sidonius Apollinaris' (430/431-489 AD) caustic carmen 12, better known as "The Satire of Burgundians" (written around 461 AD). This poem -full of a bitter humour- shows the frustration of a nostalgic aristocrat, who -although eager to preserve the rich cultural legacy of the Roman world- must face the changes necessarily brought up by the appearance of this new "other" on the Western horizon. Ultimately, the poet is even compelled to confess the unfeasibility of his project, the impossibility of poetry. Taking the obvious ideological bias of this literary perspective as a starting point, I try to reconstruct the internal history of Burgundians, one of the most enterprising and creative human groups on the Proto-Germanic scene. [ABSTRACT FROM AUTHOR]

This paper examines the idea of philosophy and poetry in Jorge Santayana and Antonio Machado, two philosophical poets whose similarities go beyond a likely meeting, mutual reading or a crossing of biographies and reach the core of their work, their poetics and their thought. According to both thinkers, poetry and philosophy are tightly related each other, or rather poetry springs from philosophical thinking and philosophy from poetical thought. And consequently, in these pages, we consider the labor of both authors in order to understand the power of the Word and what it means creation and thinking. [ABSTRACT FROM AUTHOR]

Copyright of Revista Katharsis is the property of Institucion Universitaria de Envigado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cadmus' episode opens book III of Ovid's Metamorphoses and puts him in the crossing of a double foundation: that of the Theban Cycle and that of a poetics of transgression that extends over the whole text. Such poetics is based on the gaze as a factor of sacrilegious behaviours. In this sense, the main components of Cadmus' story are scattered through the other narrations of Metamorphoses III, which develop them according to their own plot. The profanation of the nemora sacra constitutes the departure point of the cycle of misfortunes of the Theban family. It's closure is the final metamorphosis of Cadmus and his wife Harmonia into serpents. In this paper we intend to explore the construction of this poetics founded on prohibition in Metamorphoses III. We will make emphasis on the idea of transgression related to the metamorphic process suffered by its characters. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to make an explanation --and to generate a discussion-- on the importance of taking the resources that traditional literature use not only as the "memory-supporting-formulas" they are, but with an analytic focus that let us value them as a complete aesthetic phenomena. Romancero's Triada let me show the stylistic value of these resources, and how different from cultivated literariness' criteria are those that rule traditional one. Examples and discussion will be based on how the Triada can fulfill different poetic functions and, in some cases, define how rich or poor became the aesthetics results in a poem. [ABSTRACT FROM AUTHOR]