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Copyright of Tonos Digital: Revista de Estudios Filológicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Tonos Digital: Revista de Estudios Filológicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Tonos Digital: Revista de Estudios Filológicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Tonos Digital: Revista de Estudios Filológicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Tonos Digital: Revista de Estudios Filológicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 seeks to reveal, from a rhetorical perspective, the way in which Shakespeare is portrayed in the press of the Canary Islands in the nineteenth century. In accordance with the studies of reception carried out at that time, the artist is shown in commendatory terms and he is granted an extraordinary, even supernatural, aura. The corpus used for this study provides a classification of rhetorical figures, one that focuses on the interaction with the reader and the authors' wish to share the admiring image of the poet and playwright. Bearing in mind the effect that the critics' words can have when they regard the English writer, I use Perelman and Olbrechts-Tyteca's classification, who distinguish among figures of choice, presence and communion. This classification is intent on determining the effect that certain figures can have in the choice of some words, in the increase of Shakespeare's presence, and in the establishment of communion with the audience so that they feel inclined to share the authors' theses. [ABSTRACT FROM AUTHOR]

The term "Fuenteovejuna" has been used by the media of Spain and Latin America to apply to events of very different natures that in some cases share little in common with Spanish Golden Age Lope de Vega's Fuente Ovejuna. Although most news publications highlight the raising of a group of people against a situation that they consider unfair, only a few news stories portray a violent situation of self-defense against the atrocities and barbarities of an unjust ruler, as is the case in Lope's work. This paper will study the way in which the comedy Fuente Ovejuna has been read by literary critics and used by the press, to study the image that the media offers of society. The analysis of approximately one hundred news stories will show that the issue of violence and self-defense is currently only present in those that take place in Latin America, where the word "Fuenteovejuna" is generally met with negative associations. In contrast, the research will demonstrate that Spanish media often uses the word "Fuenteovejuna" positively and uses it to refer to the nonviolent demonstrations of a multitude in political and social news, which often takes place in Spain. [ABSTRACT FROM AUTHOR]

Copyright of Tonos Digital: Revista de Estudios Filológicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)