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In the sixteenth century in Valencia, Spain, Juan Lorenzo Palmireno wrote self-help manuals aimed at the 'literate country lad of slender means and few connections who plans to better his lot by moving to the city', in the words of Richard Preto-Rodas. In Estudioso de aldea (1571) and its sequel El estudioso cortesano (1573), Palmireno guides his rustic reader in the art of self-fashioning and the presentation of a polished image, in speaking well to prosper in his urban milieu. The success of his books provides a historical, real-life connection to the struggles of many literary characters of the period, including Sancho Panza's social-climbing ambitions, pícaros and pseudo-pícaros, courtiers and would-be courtiers. Today, the pragmatic objective to articulate clearly and project an image of culture, sophistication and clear thinking dovetails with students' aims with their university education. At a time of crisis in the humanities, with student debt making US academia increasingly vocational, convincing students of the importance of studying Early Modern Spanish literature can be challenging. Palmireno's manuals are immediately relatable given the parallels to students' educational goals and views on the purpose of a liberal arts education, and they give historical context to the 'great works' of Golden Age Spanish literature. [ABSTRACT FROM AUTHOR]

This work examines the poetry collection Junín (1930) by the Peruvian author Enrique Bustamante y Ballivián (1883–1937). While a part of the Latin American avant-garde expresses a fascination with the rise of new machines in the metropolis, this article demonstrates that Bustamante y Ballivián responds to this trend by representing machinery of a different kind – extractivist machinery – in a different type of space: the Andes. The author also engages with the indigenista avant-garde poetic proposals of his Peruvian contemporaries. Unlike them, the poet does not aim to give voice to the indigenous subject, nor does he idealize or solely link it to nature. Instead, he portrays it as 'coupled' to the mineral extraction machinery. Additionally, the poet depicts this machinery as invasive, contaminating and destructive to the landscape and its inhabitants. This work argues that Junín emerges as the first poetic representation of the ecological impacts caused by large-scale mining exploitation in the Andes. [ABSTRACT FROM AUTHOR]

Over the last decade, British universities have become increasingly reliant on an instrumentalist rhetoric to defend the ongoing relevance of research and teaching in the Humanities. This has resulted in a new chapter in the long-running saga concerning the crisis (purported or real) of Modern Languages alongside the study of literature. The very flexibility condemning traditional Modern Languages curricula to the past nevertheless offers new opportunities for literary study when used for the development of new skills. In this article, I employ my experience of a research-led undergraduate project on the UK stage legacy of Federico García Lorca as a case study to suggest ways in which the study of literature and theatre might be revamped. [ABSTRACT FROM AUTHOR]

During the dictatorship of Francisco Franco (1939–1975) Catalan literature suffered a terrible blow, mainly in the censorship of books published in Catalan. In this period of cultural repression, the objectives and characteristics of the mission of translating foreign poetry in the Catalan-speaking regions were determined by special socio-historical circumstances. This article presents a panoramic investigation into the dissemination of Chinese poetry in Catalan culture during the Franco dictatorship. The various aspects of the investigation and the period in which it was carried out have been studied: the publications, translation and editing, the motives of Catalan translators in carrying out their work and the influence of socio-historical elements on the dissemination of the translated poetry. [ABSTRACT FROM AUTHOR]

This work analyses the struggles with Franco's censorship that José María Castellet had to face when he embarked on three anthology projects that were decisive in the history of post-war Spanish poetry. The particular severity with which Nueve novísimos poetas españoles (1970) was received invites us to focus on this anthology, which, with qualities that should have made it more resistant, fell foul of censorship in a way that its anthological predecessors did not. On the one hand, reflection on this paradox leads us to venture hypotheses about the dynamics of the repressive body's actions. On the other hand, a thorough analysis of the censorship dossier of Nueve novísimos allows us to draw some interesting conclusions. It is true, for example, that the elliptical diction introduced by the novísimo poets protected the anthology from a much wider purge. However, the censorship actually practised, which polished the more obvious aspects of its insurgent vocation, was enough to alter the historical reception and, by extension, the historiographical significance of a book that was stubbornly denied its subversive substance. The discovery of an unpublished composition by José María Álvarez is certainly not the least of the surprises of the archival side of this research. [ABSTRACT FROM AUTHOR]

Titian's work has from the sixteenth century to the present day motivated an important series of literary allusions and ekphrastic or culturalist exercises. This study addresses, in a way that is unprecedented, a critical analysis of the presence of Titian and his work in Spanish Renaissance and Baroque poetry. A considerable number of great authors (from Gutierre de Cetina to Lope de Vega and Quevedo) show Titian's influence on their works over a wide range of literary themes and techniques. Within the field of study of the ancient relationships between painting and poetry, the texts selected in this work are important because they represent a first lyrical interpretation of the brilliant Venetian painter in Spanish literature, a precedent for the rich and heterogeneous contemporary poetics. [ABSTRACT FROM AUTHOR]

In 1753 the Arte de la lengva metropolitana del reyno cakchiquel o gvatemalico by José Ildefonso Flores, was published. This was the most complete, detailed and rigorous grammar of the colonial era that describes the language of the Cakchiquel. For this, and like other grammatical texts from the New World, the model of Antonio de Nebrija's Introductiones latinae (c. 1488) is used, which causes many problems for Flores since there are many differences between the two languages. Despite the importance of this grammar and its interest for Missionary Linguistics, it has been the subject of only brief and partial studies and investigations, which is why an exclusively linguistic work is necessary that describes and analyses its content in detail. This work describes and analyses the structure and content of the Arte de la lengva metropolitana del reyno cakchiquel o gvatemalico , the context in which it was composed and the sources that inspired it. [ABSTRACT FROM AUTHOR]

The present article analyses the primordial role played by the figure of Jesus Christ in Llullian contemplation, based on two works by Ramon Llull, the Llibre de contemplació (1273) and the Llibre d'amic e amat (1283). Jesus Christ is fundamental as an ontological reality but also as a signifying and epistemological reality: if creation represents divinity through the diffusion of the divine virtues it contains, Jesus Christ, as a human and divine creature, is the exemplary sign and, therefore, the best way for man to contemplate God. Based on various fragments of the two aforementioned works, the article shows the central role of Jesus Christ in Lullian contemplation and mysticism, and in the same line verifies that the verses of the Llibre d'amic e amat are better explained in the light of some passages of the Llibre de contemplació and Llull's artistic mechanisms. [ABSTRACT FROM AUTHOR]

The article focuses on the centenary celebration of the Bulletin of Hispanic Studies and the publication of papers reflecting on various topics within Hispanic Studies, including pedagogy and research-led teaching.

In El viaje entretenido (1603), Agustín de Rojas Villandrando described the 'bululú' as 'a player who travels alone and afoot, who enters a village, goes to the priest, and tells him that he knows a comedia and a loa or two'. Rojas' definition included explanations of metatheatrical techniques the bululú employed: voice modulation, improvised scenography, and out loud stage directions. This entertainer constituted a company of actors, insofar as he exercised all business functions and performed every character in the play. Focusing on its defining characteristics, my paper considers this type of comedian as a point of departure to analyse the relationship between performance, reception and subjectivity in early modern Spain. I argue that the bululú was a subject of multi-discursivity (ludio diversas personas agens, or histrio performing as different characters) whose interchangeability of roles was only possible when a strong dramatic contract between spectators and the performer existed. This contract was linked to the materiality of his voice, and it strengthened and modified certain qualities of the dramatization. My approach is informed by recent scholarly developments in the theorization of the human voice, which emphasize the role of sound for a decentred modernity no longer defined by the printed word. [ABSTRACT FROM AUTHOR]

This paper studies the Sevillian oidor Antonio de Morga's representation of two customs of the inhabitants of the Asian archipelago in the Sucesos de las Islas Filipinas (Mexico, 1609). It analyses how Morga's attitude towards the Filipinos is manifested through his presentation of their culinary and hygienic customs. It argues that, despite his acknowledged impartiality, Morga's image of the Filipinos reveals a system of concepts intended to schematize any unknown and non-Christian world. [ABSTRACT FROM AUTHOR]

This paper discusses the Golden Age's status in Hispanic Studies curricula and research. After laying out a short history of Hispanism in Britain and underlining the value of present-day research into Golden Age literature, this article points to two research areas of particular potency in the medium and long term. The first is the continuation of the study of Golden Age literary works in order to determine their import in the histories of Spanish literature and world literature. The second is interdisciplinary research in four specific areas. (1) The intertextuality between Golden Age literature and the Spanish and Latin American literatures of the twentieth and twenty-first centuries. (2) Comparative literature. (3) Literature as the means to understand the complexities of Imperial Spanish society. (4) The history of feminist literature. [ABSTRACT FROM AUTHOR]

This article examines archival collections at the University of Liverpool and local community archives documenting academic, political, cultural and personal links between Liverpool and Latin America in the second half of the twentieth century. Centring on collections related to Chile and Central America between the 1960s and 1990s, the analysis highlights hidden histories of transnational solidarity, human rights campaigns and academic research connecting Liverpool with Latin America during a turbulent period of dictatorship, repression and opposition. The varied records – from institutional papers to exile ephemera and cultural artefacts – provide multilayered grassroots perspectives on resistance in Latin America and abroad, revealing the diverse motivations underpinning local solidarity activism. Ongoing digitization and community collaborations based on these archives underline their contemporary significance for research and education. This article argues that as key sites of exchange across activist, academic and migrant communities in Liverpool the archival collections represent vital tools for preserving diasporic heritage, as well as raising awareness of the importance of solidarity with Latin America. [ABSTRACT FROM AUTHOR]

Sor Juana Inés de la Cruz is frequently hailed as Latin America's first feminist, in whose writing activism and art converge to advocate for education for all. Throughout her literary corpus, knowledge is connected with light and divinity, and one's connection with the natural world further strengthens a philosophical relationship with God. In Sor Juana's writing, the destruction of the land in post-Conquest Latin America becomes an assault on the self, where the poetic voice both observes and critiques ecological and patriarchal violence. In the modern day, the social media platform Instagram is employed by a new generation of Spanish poets for the publication and promotion of their work. Elvira Sastre engages with rhetoric surrounding the climate crisis whilst negotiating her personal expression through representation of the body as Earth. Again, by observing the literal destruction of the Earth, Sastre's poetic voice rises above this violence, self-fashioning as an advocate for change. This paper therefore explores ecological advocacy in both female authors' work and positions, underscoring how they both use their positions as writers within their respective creative patronage economies to reconcile (male) violence with the female voice. [ABSTRACT FROM AUTHOR]

This paper tackles some of the challenges that we face in the analysis of international book fairs: a diversity of models and the scattered information on the topic. These challenges not only concern those who take part in them, regularly or occasionally, privately or at an institutional level, but they have an impact on studies of the subject. In this article, and based on a given corpus, we introduce ProLibEx, which is one of the tools developed by the CULTURFIL research project, with the purpose of improving our knowledge and understanding of international book fairs in a comprehensive and a relational way. [ABSTRACT FROM AUTHOR]

This paper discusses the representation of 1970s and 1980s Argentina in El clan (Pablo Trapero, 2015) and El ángel (Luis Ortega, 2018), two works that combine the genres of historical film and crime caper. Drawing on Elizabeth Jelin's reflections on the analogy between family and state upheld by the repressive military regime that ruled Argentina 1976–1983, and closely reading the films' cinematography, editing and mise en scène, this paper argues that the case studies, while presenting a number of aesthetic and narrative similarities, correspond to different ways of engaging with the past. El clan historicizes the events on which the film is based, situating and connecting the actions of the protagonists within a context of political violence that enabled and facilitated those actions. El ángel portrays a glamorized version of the past that mitigates the violent actions of the main characters, offering a depoliticized account, less critical of the armed conflicts that emerged in Argentine society at the time. [ABSTRACT FROM AUTHOR]

This paper studies three recently published Spanish novels, Vozdevieja by Elisa Victoria, Panza de burro by Andrea Abreu and Leña menuda by Marta Barrio, as they all pay attention to the body and bodily processes. The protagonists' bodies can be understood through a Bakhtinian category, the 'grotesque body', and they serve to build counter-hegmonic models of female subjectivity and sociability. This article delves into the depiction of these models. The novels describe changing and unruly bodies, and affect and bodily sensations have an essential role in the protagonists' identities. Bodily precarity and vulnerability are underlined, and, as a consequence, the ethics of care are posited as a fundamental value in the narrators' lives. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyse the poetic traces that emanate from the Spanish republican exile film En el balc ó n vacío (Jomí García Ascot, 1961). In view of the artistic multidimensionality of its author – filmmaker, poet, novelist and essayist – the comparison of the film with poetic texts not only looks into the way these interartistic relationships take place within his creative universe, but also considers how they reflect an aesthetic conception and political commitment in the context of the New Mexican Cinema that began to emerge in the 1960s. [ABSTRACT FROM AUTHOR]

This paper analyses particular characteristics of tuteo in the Spanish spoken in Medellín (Colombia), where three forms of pronominal treatment coexist: tú, vos and usted. The analysis based on applying a questionnaire to 849 respondents shows that: 1) Tuteo is an innovative and prestigious treatment that has expanded through the young female population of the city's upper class. Compared to vos , it sounds refined throughout the city, especially in that population. 2) It sounds more affectionate than voseo since it is a form of address used frequently and almost exclusively in intimate and close relationships – between married couples, mothers and children – and especially by the young female population of the city's upper class. 3) Its refined use among intimate and affectionate couples means that if men address one another using tuteo it can sound effeminate. [ABSTRACT FROM AUTHOR]

This paper analyses the projection of the martyrdom of Saint Catherine of Alexandria that is part of Escorial MS h-I-13 as a Christian community ideal based on the corporal torture, not only of the martyr but of those characters linked to the imperial power who are also martyred, such as the 50 sages who intellectually contend with the maiden, the emperor's wife and the head of the army with his men. The images of fragmentation and corporal reconstruction that make up this passio refer to the Passion of Christ as a model of redemption and highlight its fruitful capacity and its testimonial nature, compared to the images of a decaying and internally cracked imperial political power. [ABSTRACT FROM AUTHOR]

The Spanish financial crisis (2008–2014) provided a frequent topic for Spanish film at approximately the same period that the hit Ocho apellidos vascos signalled a turn to ethnic humour in Spanish film and television. This paper analyses the banal nationalism of two mainstream audiovisual comedies capitalizing on both trends: the movie Perdiendo el norte (2015) and television series Buscando el norte (2016), both directed by Nacho García Velilla. The film and the series both portray the plight of economic migrants from Spain to Germany. However, rather than take up the indignados' protest, they delight in Spanish difference while lamenting the country's secondary status vis-à-vis a wealthy Europe embodied by Germany, naturalizing the existence of a Spanish nation with certain ethnic traits and glossing over Spain's lack of internal unity. [ABSTRACT FROM AUTHOR]

Educationalists can be agents of change. This is one of the ideas that best characterizes the pedagogical legacy of Célestin Freinet. The French educator has been studied for his contributions to the popular and rural school, usually through the study of his techniques. However, we maintain that his pedagogical legacy in the Spanish context also included a decisive contribution to the empowerment of teachers by fomenting a dense net of self-training initiatives. This paper analyses the mechanisms characterizing the diffusion of Freinet's ideas in Spain and their contribution to the emergence of an autonomous, active and critical professional identity among teachers. We centre our attention on two significant moments of the Freinet Movement in the Spanish context: the Second Republic and the Transition to Democracy. Our analysis shows the interaction of the movement with these two decisive moments in Spanish history highlighting both the similarities and differences in the configuration of what we call a pedagogy of resistance. [ABSTRACT FROM AUTHOR]

This paper proposes a textual comparison between the novel Tiempo de silencio (1961), by Luis Martín-Santos (1924–1964), and his most significant scientific work, Libertad, temporalidad y transferencia en el análisis existencial. The goal of the paper is to prove that the author's intention when writing the novel was to heal Spanish society by reading the text, as a result of the psychoanalytic content of the plot and the structure of the novel. With this comparison I would like to prove the productive dialogue created between scientific discourse and literary works. [ABSTRACT FROM AUTHOR]

This paper presents the argument that recent Uruguayan films, La Redota: Una Historia de Artigas (César Charlone, 2011) and Una noche de doce años (Alvaro Brechner, 2018) are examples of postmodern history. Both films are co-productions that revisit controversial periods of Uruguayan history. Charlone's film focuses on President Máximo Santos' hiring of Uruguayan painter Juan Manuel Blanes (1830–1901) in the 1880s to create a portrait of 'the father of the Uruguayan nation', José Gervasio Artigas (1764–1850). Una noche de doce años chronicles the long prison sentences of three political prisoners – José Mugica, Eleuterio Fernández Huidobro, and Mauricio Rosencof – during the dictatorship. From a country of less than 3.5 million inhabitants, these films seek to reach wide national and international audiences by presenting several viewpoints and engaging viewers in different interpretations of the past. [ABSTRACT FROM AUTHOR]

The aim of this paper is to offer a systematic exposure of the philosophical proposal of Joaquim Xirau (Figueres, 1895 – Ciudad de México, 1946), pointing out its philosophical interest while connecting his two major essays, Amor y mundo (1940) and Lo fugaz y lo eterno (1942). [ABSTRACT FROM AUTHOR]

The aim of the present paper is to analyse the first dictionary of the Real Academia Española (1726–1739) with particular focus on the definitions of terms belonging to the lexical set of animal designations. This comprehensive study is carried out in the light not only of previous monolingual dictionaries but also of contemporary treatises that reflect the naturalist doctrines of the day. With its independent approach, the Diccionario de autoridades breaks away from such lexicographical models and scholarly treatises, merely preserving from the latter a limited selection of encyclopedic knowledge and technical terms of Greco-Latin origin. Its definitions are characterized instead by the objective manner in which the visible features of the referents are described; for this reason, it is argued, the academic dictionary brings an innovative perspective to both zoological description and lexicographical technique. [ABSTRACT FROM AUTHOR]

This paper examines politics and race in the early novels of Julio Cortázar – those written before Rayuela (1963), sometimes called his 'Argentine trilogy', and published after the author's death. Despite Cortázar's later public statements about the importance of an author's engagement with politics, it is the analytical acumen in the realist aspects of these often fantastical novels, rather than a commitment to a stance, or a political message, that ensures the continued potency of his works as political fictions. Furthermore, recent critical investigations of race and racism in Argentina deepen our understanding of the author's politics through reference to these questions. Cortázar admitted later in life that his former self shared many of the prejudices of his narrators and characters. We aim to nuance Beckman's recent assertion that Cortázar displays 'racist [...] assumptions embedded within his vision of universality' (2018) by setting these works against the background of race and politics in Argentina. [ABSTRACT FROM AUTHOR]

This paper is a qualitative study of a limited number of recomplementation structures in Old Spanish, isolating at least three different pragmatic uses connected to speech acts. The study shows that second que was a versatile marker with core functions connected to indirect and direct assertion. It is shown that the sandwiched material in structures with recomplementation belong to the higher fields of the left periphery, but that contrary to a 2007 analysis by Sandra Paoli, they are not always topical in nature, and second que can therefore not merely be a topic marker. It is argued that second que in its most neutral version is the lexicalization of a speech act-operator, generating a speaker deixis-projection such as that suggested in a 2006 paper by Liliane Haegeman, and compatible with the analysis proposed for interrogative clauses in 2013 by Carlos De Cuba and Jonathan E. MacDonald, as well as Francesc González i Planas' pragmatic analyses for Modern Spanish, shedding light on the development of second que in the history of Spanish. [ABSTRACT FROM AUTHOR]

In this paper I explore resistance to energy colonialism in the work of Saharawi poets Limam Boisha and Fatma Galia Mohammed Salem. I first follow the cables of the growing renewable energy infrastructure in occupied Western Sahara to make sense of how sun and wind can become enmeshed, materially and discursively, in ongoing processes of colonialism. Then I argue that Boisha and Mohammed Salem employ aeolian aesthetics in order to resist the colonizing discourses of renewable energy developers. Aeolian aesthetics are informed by wind in their structures, motifs, imagery and rhetorical devices. They make a decided appeal to the senses through which we know the wind: sound and touch, and visions of the windblown. The aeolian aesthetics that shape the Saharawi texts explored in this paper challenge hegemonic colonial understandings of wind (energy) and of Western Sahara's desert heartlands, thereby resisting corporate discourses that enact energy colonialism. [ABSTRACT FROM AUTHOR]

This paper aims to contrast the dative expression in different varieties of Portuguese. While European Portuguese uses ditransitive prepositional constructions (DPC) and Recipients [±ANIM] are introduced by the functional preposition a, non-European varieties of Portuguese exhibit a range of alternative strategies: (i) Brazilian Portuguese and Angolan Portuguese use a DPC introduced by para or em respectively; (ii) Mozambican Portuguese tends to use double object constructions (DOC) and dative passives; and (iii) Santomean Portuguese exhibits dative alternation between DOC and DPC which make use of either the preposition a or para. In this paper we discuss to what extent the strategies employed by these Portuguese varieties are due to the historical contact with Creole and Bantu languages, as well as to an ambiguous input from European Portuguese. [ABSTRACT FROM AUTHOR]

This article examines the figure of José María Arguedas as a translator (1911–1969), focusing on the 1960s when the author published Dioses y hombres de Huarochirí (1966). Through this translation, Arguedas achieved the culmination of his incessant translating work, which, nevertheless, has remained obscured under the double image of the anthropologist and the writer. Although his narrative and anthropological work continue to receive critical attention, there are still few studies dedicated to analysing his work as a translator. Within the field of translator studies and through a diachronic analysis of the paratexts that accompanied the translation of the Huarochirí manuscript, this paper analyses the profile of Arguedas as a translator and examines his political and ideological positioning, his public image and self-representation, his attitudes towards translation and the social networks that fostered his work as a translator. [ABSTRACT FROM AUTHOR]

The presence of multiple loanwords in the Ibero-Romance of the twelfth and thirteenth centuries demonstrates language contact. Teasing out the nature of the relationships that resulted in the adoption and spread of these borrowings is difficult due to the limitations of the evidence, found only in written registers produced by those with access to education. This helps explain the catalogue nature of most historical borrowing studies about Spanish. This paper argues, however, that an inferential network analysis of the extant data on ecclesiastical loanwords that entered the lexicon through contact with Gallo-Romance speakers elucidates their adoption and spread, moving beyond the list. Using five borrowings as illustrations (capiscol, chantre, fraile, maestre, and monje), it asserts that their diffusion was facilitated and influenced by both the strong and the weak ties that developed inside and outside religious institutions, which left a lasting mark on the Spanish lexicon. [ABSTRACT FROM AUTHOR]

This work analyses a repertory of oral versions of El vendedor de nabos (IGRH: 0765), a Spanish ballad that has not yet been studied in depth. Specifically, we examine 54 oral samples of the ballad in order to determine their textual configuration and the factors that conditioned their literary formulations. In this paper, we argue that only a small group of the versions represents the oldest branch of the literary tradition (which emerged from the oralization of a written text), whilst a much larger number of the samples evolved into several forms conditioned by the contexts in which they were transmitted. [ABSTRACT FROM AUTHOR]

In this article I propose an interpretation of the recent Colombian cinema from a perspective that combines Queer Theory with Disability Studies. For this, I take as a case study the film Porfirio (2011) by Alejandro Landes. The analysis focuses on three areas: firstly, I discuss recent Colombian cinema and establish the importance of addressing the construction of (physical) disability in that cultural industry. Subsequently, I examine the way in which sexuality, the body and disability are articulated in Landes' film through an analysis of their visual grammar. Finally, I establish the (sociopolitical) contributions that this film generates in the current Colombian context when a queer/ crip affective approach is assumed. In this way, this paper seeks to promote more extensive research on the representation of (physical) disability in Colombian cinema created in recent decades and, in particular, how it produces affects and effects in Colombian conflictive society [ABSTRACT FROM AUTHOR]

Despite the importance of the Comedias escogidas collection (1652–1681/1704) as a means of dissemination of plays for the theatre in the second half of the seventeenth century, this work has not been studied in depth from a point of view that takes into consideration issues related to authorship, and which does not only approach it from a bibliographical perspective. This paper studies Calderón de la Barca's authorship with a double approach: on the one hand, we intend to elucidate his involvement in the bureaucratic process of the book collection; on the other hand, we provide a quantitative analysis not only of his comedias but also of works mistakenly attributed to him. The paper also provides new bibliographical data. [ABSTRACT FROM AUTHOR]

My paper analyses the role that transcribed and slightly fictionalized testimonies by immigrants to Spain who settled in the neighbourhood of Lavapiés in Madrid play in Lucía Etxebarria's ensemble novel Cosmofobia (2007). I contrast my analyses of these manipulated testimonies with those gathered by Carmen Romero Bachiller, a sociologist who specializes in immigration, in her work, Articulaciones identitarias (2006). Although the inclusion of real-life testimonies in novels can be a risky narrative strategy, collecting first-hand testimonies from immigrants is a good approach to avoiding the fetishization of the other in the encounter between immigrants and autochthonous citizens in the way that Sara Ahmed theorizes ethical encounters. In my paper, from the framework of Ahmed's philosophy of 'strange encounters', and with the help of Saskia Sassen's global cities and Mireille Rosello's stereotypes, I propose that in the case of Cosmofobia , the problem lies in the national perspective of the author. The novel is more about the generation of the democratic Transition and its distanced perspective than about new relations in Spain in a globalized social sphere. [ABSTRACT FROM AUTHOR]

The signing in 1761 by France and Spain of the Tercer Pacto de Familia had a notable impact on the traditional process of the permeation of French culture through Spain. This paper addresses a topic that until now has not been subject to detailed scholarly analysis: the role played by Spanish diplomacy as an active agent in that process of cultural transference. It analyses, in particular, the set of books on political economy and related areas, especially, political science, sent to the Corte de Madrid from the Spanish Embassy in Paris between 1761 and 1774. This period basically coincides with the era during which the embassy was directed by the Conde de Fuentes, who was responsible for managing the pact during these years. Likewise, the paper analyses the fate of these books after their arrival in Spain, focusing in particular on whether they were translated into Spanish. [ABSTRACT FROM AUTHOR]

In this paper I argue that the Mio Cid epithet, most widely associated with the Castilian warrior exile Rodrigo Díaz and traditionally believed to have been bestowed upon him by Arabic speakers, is in fact an autochthonous Castilian formula closely related to equivalent hybrid formulas such as Mi Anaya and Mi Echa. Close attention to the charters of the Northern Meseta allows us to flesh out a small but significant corpus of such references and also observe such names being used in a second idiosyncratic way as generic witnesses. By framing the Mio Cid usage within this broader onomastic tradition, a more solid geography and chronology emerge and these in turn indicate a relatively widespread use of such terms in late eleventh and early twelfth-century Castile, initially in aristocratic circles, before the epithets morphed into personal names. [ABSTRACT FROM AUTHOR]

This paper studies the literary and artistic ideal represented in Casa del placer honesto –a collection by Salas Barbadillo, published in 1620, who used the academic form as its cornice , or framework – with special focus on its apparent misogyny. Through the analysis of the partially negative portrayal of the characters, the comicality of ordinances regulating the academy and the tribute to doña Ana de Zuazo, a woman lauded by Salas for her intelligence, the conclusion is that the model of Casa del placer honesto does not reflect the thinking of the author respecting women's access to the world of art and literature. [ABSTRACT FROM AUTHOR]

This article proposes to add Instagram photography to a historical visual mapping of Havana during a period of renewed visibility. Further enabled by the features of Instagram's format to 'age' photos and highlight specific textures and colours, These images draw on and contribute to a nostalgic vision of an exotic, underdeveloped Havana. Instagram photography emerges as an important touristic mode of imagining and experiencing the city. Yet despite the aesthetic overdetermination of these images, their captions and hashtags often stymie any suggestion of political meaning. Nevertheless, the networked image, organized and anchored by metadata such as the geotag and hashtag, further cements the signifier 'Havana' to the photographic image, and confirms the city as worthy of the gaze. Lastly, the paper reflects on the broader profile of those creating and circulating Instagram images of the city, arguing that a relative lack of access to digital technologies in Cuba has resulted in a strongly asymmetric gaze from the outside in. [ABSTRACT FROM AUTHOR]

This essay frames a close reading of the fragments in which Manuela, the crazy daughter of the dictator in Ramón del Valle-Inclán's book Tirano Banderas (1926), appears. The disabled body and inheritance are analysed, as I argue that the character can be read as a cultural artifact. Through the study of race and gender as discursive categories of the text, this paper looks at the representation of Manuela and suggests a possible reading of the novel that acknowledges her relevance. [ABSTRACT FROM AUTHOR]

Until now little was known about the so-called follas reales , theatrical performances (apparently operatic) whose existence was reported in Spanish cities such as Madrid, Barcelona and Valencia during the eighteenth century. Of these, however, only one text was known: that of a folla real composed by Francisco Corradini for the anniversary of Queen Isabella Farnese in 1728. The characteristics of this folla real did not coincide with those that appeared in sources and dictionaries of the period, in which variety was the main characteristic. In this paper I reconstruct an unknown folla real , which was staged for the princes of Asturias in the Casa de Vacas in the Sitio Real de Aranjuez in 1785. [ABSTRACT FROM AUTHOR]

This paper deals with the historical evolution of the causative and inchoative periphrases with poner in Spanish. In these constructions, poner functions as an auxiliary verb, combining with a subordinate infinitive to which it adds a causative (poner a alguien a trabajar) or an inchoative aspectual meaning (ponerse a trabajar). The aim of this paper is twofold. It aims (i) to determine when and how both periphrases developed out of the basic locative construction of poner, and (ii) to shed light on their degree of grammaticalization. Therefore, this article exposes the results of a formal and semantic analysis of the causative and inchoative periphrases with poner between the thirteenth and twenty-first century. It is shown that both constructions developed in a parallel way, but at a different pace. The inchoative periphrasis seems to be more grammaticalized than the causative periphrasis, presenting a much higher frequency of use and a higher degree of syntactic incorporation. [ABSTRACT FROM AUTHOR]

This paper aims to give an account of the way in which the concept of identity is contemplated in the heterogeneous poetic work of Chantal Maillard, a Spanish writer of Belgian origin. The philosophical dimensions her texts acquire are assigned to a postmetaphysical way of thinking influenced by philosophers such as Martin Heidegger, María Zambrano and Jürgen Habermas, with whom she engages in a dialogue on the nature of subjective knowledge. The basis of this work consists of the definition of the poetic identity as a rhyzomatic reality and, following a metaphor used by the author herself, a stroboscopic sequence. In realizing this aim, we utilize a concept from the theoretical texts of Marcel Duchamp: inframince or, in its translation into Spanish, infra-leve , which we explain in accordance with Maillard's theories about identity. [ABSTRACT FROM AUTHOR]

This paper is a contribution to the history of Spanish phonetics, a discipline historically neglected by specialists, which deals with articulatory descriptions and the notation system to represent the 'pronunciación figurada' found in some handbooks of Ollendorff's method that were published in North America in the first half of the nineteenth century and that continued to be published until the beginning of the twentieth century. [ABSTRACT FROM AUTHOR]

The present paper focuses on the characteristics and peculiarities of telic and atelic verbs in Spanish. There is a high degree of agreement in the description and analysis of them, although there are still, in my opinion, some pending problems, with which I deal here. For this purpose I use three different definitions and three classic determining tests (implication of the progressive forms, combination with adverbials in x time and for x time). In fact, the application of all of them does not allocate predicates into a clear-cut temporal–aspectual dichotomy; in other words, it does not validate the idea that telic and atelic verbs belong to two classes that are clearly disjunct. It is also seen that, if we take as a criterion the results of the tests, we must accept the convenience of considering more classes of lexical aspect than the four (or five) often used. [ABSTRACT FROM AUTHOR]

This paper forms part of a larger project concerning the preparation of documents in the court of Philip IV of Spain. The document examined constitutes letters patent issued in September 1658 to the Marquis of Heliche, granting him temporary governorship of the Palacio de Buen Retiro. While both drafts of these letters employ the form propriedad, the final version removes the second : propiedad. My purpose here is modest: to investigate the vitality of these variant spellings in Spanish at this time. To do so, I have consulted relevant dictionaries and various linguistic corpora. The attempt to determine the relative vitality of these competing forms in seventeenth-century Spain will, of course, also allow us to draw some conclusions regarding the usefulness of the tools employed. [ABSTRACT FROM AUTHOR]

This article presents a detailed study of two important manuscripts of the Estoria de Espanna copied in the fourteenth century: Q (BNE ms. 5795) and T (BMP ms. 550), paying special attention to their materiality. By means of the analysis of their mise en page , illumination, quire structure and palaeographical aspects, this paper aims at giving a more accurate picture of the production and reception context of both manuscripts, thus contributing to the study of the transmission and reformulation of the Alfonsine text in the central decades of the fourteenth century. [ABSTRACT FROM AUTHOR]

In this paper, we continue to examine and reveal the tale types of universal folklore that the Andalusian jurist and man of letters Ibn 'Asim (d. 1426) included in his collection of tales entitled Hada'iq al- azahir at the end of the fourteenth century. This work is indispensable in studies on Spanish literature and folklore. It also contributes, with important novelties, to international folklore. Some of its tales have so far been kept in Arabic in its pages. We note the peculiarities of their versions and variants, always paying attention to their parallels in Arabic and Spanish literature and folklore. [ABSTRACT FROM AUTHOR]