Search

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC 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 musicalization of the fiction present in Vals, the most valued novel of Francesc Trabal. The present article suggests a different reading of this novel based on the concept of intermediality and through two axes: imitation and thematization (paratextual, contextual and intratextual one). In this sense, a very close relation between this musicalized fiction and the notion of metafictional irony is observed and it helps to understand the ludic proposal established by Trabal. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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 examines the topic of imitative poetry in Plato. Its aim is to determine whether, for Plato, may be a mimesis of value and consequently an acceptable mimetic poetry. For this, two sections concerning a valid Republic imitation will be analyzed. This would be based on the dialectical understanding of intelligible realities; condition that the poet can not be covered. My hypothesis is that the solution to this problem is the Platonic idea of 'design', which -derived the ideal paradigm- would be the tool for the imitator. Philo has conceptualized this tool in his idea of archetype. [ABSTRACT FROM AUTHOR]

El artículo presenta una crítica literaria de "Mímesis" de Erich Auerbach. El autor comenta sobre la representación de la realidad en la literatura occidental así como el concepto del mímesis, un tipo de imitación, en la obra de Auerbach. También se considera la historia reciente de la literatura occidental.

Miguel de Cervantes incorporó varios romances en su Don Quijote de 1605 y esta práctica fue imitada por Alonso Fernández de Avellaneda en su continuación de la novela cervantina. Entre las baladas incluidas en el "Segundo tomo del ingenioso hidalgo don Quijote de la Mancha" figura un "romance del conde Peranzules," aludido por Sancho Panza en el episodio de los melones. Avellaneda, defensor de la ortodoxia religiosa y del inmovilismo social, usó la balada para dirigir una crítica a su rival a propósito de ciertos pasajes sobre magia terapéutica del primer "Don Quijote." Es posible que el romance de Peranzules, que hasta la fecha no ha sido identificado, esté relacionado con el romance de "El conde don Pero Vélez." [ABSTRACT FROM AUTHOR]

This article explores the intertextual relation between Juan de Castellanos' Elegías... and Alonso de Ercilla's La Araucana, arguing that every time Castellanos refers to Ercilla's text he does so with an iconoclastic impulse that leads him to either transform or reject the model. In this sense, the reference that presumably explains why Castellanos preferred the epic to historiography does not prove that he indeed "imitated" Ercilla, but rather reveals a crisis in the poetic practice of imitatio triggered by the debates surrounding the conquest and colonization of the New World. [ABSTRACT FROM AUTHOR]

This article offers a close reading of Juan de Espinosa Medrano's three-act play El amar su propia muerte in relation both to the author's theatrical models in Spain and to his particular preoccupations as a Peruvian intellectual aware of his secondary position vis-à-vis Spanish cultural centrality. Following the practices of baroque imitatio, Espinosa Medrano succeeded in bringing together the multiple conventions and subgenres of the comedia nueva in such a way that he not only demonstrated a totalizing assimilation of his models but also interrogated their underlying logical structures. The result is an allegory of ingeniousness linked to the author's overall project, made more explicit in such works as his famous Apologético en favor de Góngora, of Creole intellectual vindication. [ABSTRACT FROM AUTHOR]

Copyright of Laguna: Revista de Filosofía is the property of Universidad de La Laguna 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 article discusses the imitation of Spanish literature in Latin America through the works of Mariano José de Larra (writing under the pseudonym Fígaro) and Argentine writer Juan Bautista Alberdi (writing as Figarillo). The author questions the role of the imitator and their ability to fully "possess" their works and truly call them their own. The author then discusses the origin of the name "Fígaro" which not only is related to Spain through the opera "The Barber of Seville" by Pierre Beaumarchais, but is also a famous Parisian newspaper "Le Figaro."

Se presenta una carta del editor en respuesta a una carta al editor del Dr. Jordi Camí, que considera como plagio el editorial "Reflexiones acerca de la importancia del factor de impacto," publicado en el volumen 10 número 41 de la publicación. Afirma el editor que ni la Real Academia Española de la Lengua ni la ley ha podido definir el plagio de manera precisa. Sin embargo, reconoce que el plagio representa el uso de palabras o ideas sin nombrar a su autor.