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Copyright of Revista Iberoamericana (Liverpool University Press) is the property of Liverpool University Press / Journals 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 Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid 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 Thélème is the property of Universidad Complutense de Madrid 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 Cultura Latinoamericana is the property of Universidad Catolica de Colombia 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.)

Time and space are of foremost importance in the dramatic economy of medieval epic poems because they serve the important function of situating the reader spatially and chronologically. In the Cantar de Mio Cid, the poet places particular emphasis on the theme of time, enumerating the years, months, weeks, and days for his reader to present his narrative as a verisimilar, if not historic, chronicle. This study seeks to interrogate the time that elapses from the beginning of the poem to the end, arguing that the poet's penchant for relative chronological precision betrays an effort to convey his story as historical fact. His ability to weave fiction and reality has greatly contributed to the Cantar's timelessness, one that renders it relevant even in our modern society. The representation of time helps create the illusion of realism, helping to humanize Rodrigo Díaz and heightening the dramatic impact of the poem. [ABSTRACT FROM AUTHOR]

The purpose of this article is to highlight how the radical foundations of law and natural law are already established in some of Javier Hervada’s early works, so that a peaceful continuity in his work in relation to these foundations is perceptible. For this, most of the writings from the sixties of last century have been used, the principles of which are developed in later works. The metaphysical and theological bases of Hervadian thought thus determine a concrete anthropology in which law, in its unitary and integral conception, fulfills a capital function. [ABSTRACT FROM AUTHOR]

Copyright of Historia 396 is the property of Pontificia Universidad Catolica de Valparaiso, Instituto de Historia 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.)

If the twentieth century was that of phenomenology, the twenty-first is characterized by the rise of multiple realisms. Although one might think that this is a radical turn in contemporary philosophy, it should be remembered that, in 1943, Jean-Paul Sartre tried to establish an absolute neorealism which wanted to preserve a certain realism within phenomenology. Through a reading of Being and nothingness, the author shows that absolute neorealism enables the dichotomy between idealism and realism to be surpassed, thanks to the transphenomenality of two beings and, in addition, imposes a displacement of the descriptive and constitutive task of phenomenology towards a work of revelation. [ABSTRACT FROM AUTHOR]

Known for defying the conventions of the realist novel, César Aira's texts are characterized by their strangeness and particularity, with regard to both content and form. This essay approaches this dimension of Aira's narrative work by studying the influence of the visual arts on his writing. It situates Aira's work in the context of contemporary Latin American literature but also traverses the Atlantic, and various time periods, to consider his work's dialogue with the historical avant-gardes. Examining the influence of artists who appear in his texts, such as Escher and Duchamp, but also the presence of more subtle concepts that motivated the work of avantgarde artists, such as the fourth dimension and non-Euclidean geometry, I argue that through the influence of the visual arts in his texts, Aira questions our conceptions of the novel, literature and art, proposing new forms of narrating, representing complex topics, and interacting with readers. [ABSTRACT FROM AUTHOR]

Emancipada is the first Ecuadorian novel and one of the first Latin American in the subgenre of literary realism, however, it goes unnoticed for the university debate two centuries after the birth of its author Miguel Riofrío. By the contribution of this work, more than a century and a half later, it can be demonstrated, from the critical theory to which it precedes by far, that in this one you can find greater and better vestiges of denunciation for the dignity of people, Human rights and the right to resistance. This work is divided into five parts. In the first one, the writing of the work analyzed in its historical moment and according to the author's social environment will be contextualized. In the second part we will study the discursive environment of ideas in La Emancipada and the author's thinking in the context of his narrative. In the third part, resistance and disobedience will be analyzed as categories of study in the environment of the social and creative process of the work. In the fourth part, he will evaluate the influence of the mother figure of the protagonist of the story according to the categories anticipated in the previous section. The last part is dedicated to establishing conclusions. [ABSTRACT FROM AUTHOR]

Benito Pérez Galdós is considered the best author of all Spanish literature after Cervantes, and he has been recognized as the best writer of the 19th century. Galdós's novels are analyses of social trends and problems that lay at the heart of nineteenth-century civilization. In Torquemada en la hoguera, Galdós reveals the usurer's inability to comprehend reality, to rise over lust and greed. Torquemada embodies the materialist core and the monetary soul of a vital philosophy from the Spanish merchant class of that century. [ABSTRACT FROM AUTHOR]

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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 Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca 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 studies the keys of symbolic representation of the social order of Mexico that the writer and jurist Emilio Rabasa Estebanell constructed by means of the codes of literary narrative. This con cern completely overflowed the domain of specifically legal, parliamentary, and journalistic writings. In this sense, in this work the novel is considered to be part of a complex atmosphere of writings, speeches, debates, and symbolic representations, beyond which it can not be fully interpreted. In support of the legal (rational, universal, abstract) constitution of the Mexican nation, Emilio Rabasa constantly referred to the intellectual instruments and procedures of narrativity in order to reduce a problematic reality-sometimes chaotic with respect to the liberal mentality's certainties and ideals-in the proper sense of the instruments and resources belonging to the literate order. This writing emphasizes an eagerness to describe, explain and, ultimately, understand, from the enunciation horizon of liberalism, the powerful popular traditions of Mexico. As a result, Rabasa came to narratively pose the emergence of the people as a social actor that would change Mexico's symbolic order, as it was established by the discourses of political modernity. This process is studied in La Guerra de Tres Años (1891). [ABSTRACT FROM AUTHOR]

My purpose is to give continuity to an argument previously suggested by some readers of Blest Gana. The general idea is associated with the need of a study capable of establishing a link between all of the renowned books, as a way of integrating them in the work as a whole in an organic way and with a general vision. In this case, I take the seven novels which the author published between 1860 and 1864 to show some of the relationships that can be established between them. [ABSTRACT FROM AUTHOR]

This paper analyses the representations of the Thousand Days' War from three tales by Efe Gómez: "Un padre de la Patria", "18 de Octubre" and "Peralonso". The tales are analyzed in their direct relation with the historic context, employing historiographical works. A critical posture of the bipartisan Colombian history is found alongside with the idea of war as a downfall and deadlock of the nation, and also an ethical way of thinking about the Colombian nation. Those elements show not only a thematic, but also a conceptual unity among them. [ABSTRACT FROM AUTHOR]

This paper discusses the presence of the character teacher or professor, carrier of pedagogical ideas, in the Spanish novel of the period between realism and the avant-garde. From the review of sixty-six novels and fifteen stories, it inquires about educational concepts and subgenres. The examination of the character leads to the separation of four narrative modes: schoolteachers (male and female) in the realistic novel, the philosopher-educator in the lyric novel, the teacher-cleric in the religious boarding school subject to the scheme of anti-Bildungsroman, and University Professor, with subsidiary role, in novels of universitary life. [ABSTRACT FROM AUTHOR]

This article explores the “theoretical and practical grounds" of the development of fantasy literature in Peru. After a presentation of the theoretical framework that exists in the country on fantasy in spite of its tradition of realism, and after recalling some examples of fantasy stories that are inserted within a more or less local referent, the analysis of a story by Yeniva Fernández allows to observe a manifestation that is triply original: current, national, and from an author of Peruvian fantasy expression. [ABSTRACT FROM AUTHOR]

The twelve interpolated stories in Don Quixote have always attracted critical attention. Departing from past times when some English literature scholars regarded these as an imperfection, in recent times some critics have argued that Cervantes deployed them as elements characteristic of classic literature. This article revisits the question of the interpolated stories and suggests that Cervantes used them for a variety of reasons and purposes. The most important of these is perhaps to deploy them to parody non-realist fiction -- these interpolations were originally written in the fashion of romances that, once made part of the story of Don Quixote, became realist fiction. Another possible function of these stories is to express the ideology of modern humanism. [ABSTRACT FROM AUTHOR]

El artículo presenta una crítica literaria de obras de tales autores como Ronaldo Menéndez, Rolando Sánchez Mejías y Virgilio Piñera. El autor comenta sobre la literatura cubana durante el siglo 20 y examina sus varios géneros, incluyendo el realismo y la vanguardia. También se considera la representación de Cuba en las obras.

This article examines Vallejo's realism as destabilizing dominant cultural discourses in Latin America, particularly the cosmopolitan tradition of travelling to Europe in order to "letter oneself ". Vallejo self-mockingly engages in this rite when he travels throughout Europe trying to insert himself in the global literary canon. Through a careful reading of the path the narrator of the five novels that make up El río del tiempo, and as a counterpoint to Kwame Anthony Appiah's idealist cosmopolitanism, Nicholson identifies a layered metaphor of linear paths that parse the tension between the global and the local in the work: the river of time, associated with a naive idealism followed by a material cynicism, European trains in which the narrator has failed cosmopolitan encounters, and the road to his grandparents' farm with which he aassociates youthful bliss. [ABSTRACT FROM AUTHOR]

This article presents a literary criticism for the book "Fortunata y Jacinta," by Benito Pérez Galdós. The author comments on the elements of realism, parody, and narrative typology in the novel. He also analyzes the aesthetic characteristics in the work, such as the inclusion of abstract ideals and values.

The novel Perfect Preterite by Hugo Foguet appears in the map of Argentinian literature as a piece of writing that, at the moment of its publication (1983) and from the periphery of the canon, breaks apart from any expected narrative produced inland, that is, a kind of realism that presented remote, still and atavistic provincial towns. This paper analyzes Foguet's text from the notion of folly realism, coined by Eduardo Rosenzvaig in the context of the Argentinian and Latin American literature. [ABSTRACT FROM AUTHOR]

The analysis of Ezequiel Martínez Estrada's Around Kafka and other essays allows to recognize the concept of realism (inherited from the Czech author) that he manages in his narratives. In " Marta Riquelme," one of his stories, he discursively constructs an image of "the other" upon different textual levels: author, narrator, genre, characters, etc. A t the same time, Martinez Estrada manifests a feeling of foreignness in the production of his real and fictional contexts, that is, in the creation of particular texts. The findings show that this writer presents a personal image of "the different" when related to the conception of traditional narrative. [ABSTRACT FROM AUTHOR]

Se presenta una crítica literaria de varios libros incluyendo "Teorías del realismo literario" por Darío Villanueva, "La trabajadora" y "La ciudad feliz" por Elvira Navarro. El autora comenta sobre el realismo y la realidad en la literatura y los narrativos. Otros temas incluyen la percepción en la literatura.

Though Santa, by Federico Gamboa, is one of the most analyzed novels in Mexico, in the period that goes from the end of the nineteenth century to the beginning of the twentieth, one has to admit that an approach to his contemporary readers is still necessary. In this article, I propose some ideas with regards to the reception of the novel during the Porfiriato, as well as to the modernity of Santa and the divorce established between the critique and the literature in the period. [ABSTRACT FROM AUTHOR]

Antioquia-born writer Tomas Carrasquilla's work has been recognized for its association with Realism and the principles of interpretation of social relationships that it allows. Studying composition, character scheme and language use, it is possible read this work from a critical stance that takes a distance from the aesthetic norms of the time, and demonstrates the contradictions and disagreements of these norms with the ideological and political projects that supported them. In this way, in a novel such as La Marquesa de Yolombó, Carrasquilla establishes a critical position, supported by the composition of a female character, whereby he not only presents the implications of a specific period of Colombian society, but also the possibilities of communication with a present that, for the writer, needs to be questioned and revealed, taking into account the breakdown of social life and the contradictions of liberation projects in Colombia. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Románicos 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.)

Our proposition is that certain "details" (catalysis, according to Barthes) reveal the presence of disciplinary power in the sphere of modem fiction. Our analysis starts with some of the descriptive units of Purén Indómito, which we consider to be a direct precedent for this revelation, and we conclude with the novella, Martin Rivas, and the short story, El matadero. The text dating from the colonial period gives a detailed account of daily life in the kingdom of Chile, describing the strategies of the sovereign power, while the modem stories highlight the presence of disciplinary power. Thus, the purpose of the dramatic details recounted in Purén is to ensure the legal-moral intervention of the monarch in the kingdom. In realist works, on the other hand, these details show the actions of organisations to subject and discipline the people, just as it occurs in Martin Rivas and El matadero. In this case, the narrative strategy is to exhibit the details of the foul, barbarous, reactionary customs of Latin American societies in order to discipline and purify them, and thus transform them into modem, productive nations. [ABSTRACT FROM AUTHOR]

At the beginning of the 1970s Angel Rama explained the first publications of, among other young Uruguayan authors, Mario Levrero (1940–2004), as the emergence of a new narrative in a Uruguay influenced by crisis of the solutions brought about by the ‘generación crítica’; and by the influence of Julio Cortazar. Rama criticized Levrero for, in particular, his total abandonment of realism in his fictional writings, which he described as ‘libertinaje imaginativo’. My purpose in this article will be to explain how this ‘libertinaje imaginativo’ works and to analyse the role of ekphrasis and image in Levrero’s fiction, particularly through reading the novella ‘Los muertos’ (1986), one of the texts that best illustrate his ekphrastic poetry. This novella anticipates most of the recent problems and some of the interests of contemporary Uruguayan fiction, which relate to the loss of the sense of reality and mass media penetration during the 1990s. [ABSTRACT FROM AUTHOR]

Don Quixote is universally regarded as an emblematic text in the history of the novel. Yet while some scholars have argued that it is a modern novel in its own right and not a romance, others have objected to this theory. When considering the extent to which Don Quixote can or cannot be regarded a modern novel, the question of realism has dominated scholarly research. This article questions the validity of applying Auerbachs theories on realism to the study of Don Quixote. It argues that whilst realism in Don Quixote may not match the models of nineteenth-century French naturalist novelists, it does prefigure the form of realism later developed in the modernist novel. The article also reviews the textual evidence that highlights the fact that Cervantes was consciously and wilfully experimenting with the concept realism with the purpose of writing a prose fiction that departed from the romance. [ABSTRACT FROM AUTHOR]

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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 examines the deviations and derivations of a new type of realism in The Fish Child (2004), the first novel of Argentine writer and filmmaker Lucía Puenzo. Through an innovative narrative based on the incorporation of the oral components of indigenous languages and the popular stereotypes taken from mass-media, the novel proposes a new subjectivity focused on the recovery/re-adoption of an animalistic nature as a way of life that resists domination and as a form of excess capable of transcending the limits of gender, morals and cultural territories marked by politics. [ABSTRACT FROM AUTHOR]

This essay aims to revisit the production of a rather neglected Chilean writer, Carlos Sepúlveda Leyton (1895-1941). Through the analyses of his novels Hijuna and Comrade, it argues that Sepúlveda Leyton is not just a transitional figure in Chile's social novel tradition; on the contrary, his work constitutes a radicalization of the social novel and as such it should deserved a more notorious position in Chile's literary historiography. Finally, from the study of his work it emerges the need for a reconsideration of the traditional divisions between realism and avant-garde. [ABSTRACT FROM AUTHOR]

Many of the classical readings of fantastic literature, such as Todorov's, Jackson's or Bellemin-Noël's emphasize the subversive or irrational component of it. Although studies on its mimetic component exist as well, in my view they have not pursued to the end the logical conclusions of the interaction between both fields. Through an innovative typology of objects as they appear in fantastic fiction, and the study of their ontology, this article attempts to show how realistic view is not only a foundational base of fantastic discourse but it also proves what this discourse is claimed to question, i.e. the vindication of metaphysical consistency of reality. Using examples from Spanish and other linguistic traditions, the conclusion is reached that fantastic literature may be oxymoronic by essence, and only subversive or dissident a posteriori, after obeying the conscious intentions of the writer. [ABSTRACT FROM AUTHOR]

This article proposes to read Juan José Saer's narrative from the perspective of Gaston Bachelard's phenomenology. he analysis focuses on three novels, which are considered to be representative of the Argentine author, and inquires into which Bachelard calls material imagination in his poetic analyses. his notion allows to hypothesize about Saer's realism, which has been conceived in terms of representation and related to the topic of perception, especially in this narrative. his reading does not propose a simple methodological transfer but finds its potential in the realistic approach to a piece of writing carried out from the microscopic phenomenology of Bachelard, who studied mainly poetry and fantastic narratives. It is about an inherent problem to Saer's narrative, that is to say, the tension between liberation of material imagination in a narrative regulated by formal imagination, which is related to the novel structure and to the prerogatives of realistic verisimilitude. [ABSTRACT FROM AUTHOR]

Criticism has no doubts when emphasizing the predominant position of realism in the second half of 20th century Spanish short stories; however, the prevalence of aesthetic streams out of this tendency all through the post-war period have been hardly pondered. This paper discuss the production of some significant members of the so-called "Mediosiglo" generation, who, although they choose a kind of compromised and testimonial literature, are also interested in the practice of non realistic forms. This is the case for Ana María Matute and Medardo Fraile, whose stories go into the symbolic existentialism in depth and, sometimes, culminate in the marvelous genre, or for Juan Eduardo Zúñiga and Alfonso Sastre, who use the fantastic genre with the purpose of stepping up the message of denounce of the literary work. [ABSTRACT FROM AUTHOR]

This article provides a literary critique of the novel "Pedro Páramo" by Mexican author Juan Rulfo for the 50th anniversary of its publication. It examines the major themes of the novel, including Rulfo's use of realism and hope. The author also provides a study of the main characters in the work and what they represent. The influence of the novel on Mexican literature and media is explored. Several references to other criticism on the work are also presented.

This article discusses the avant-garde writing style of Peruvian poet César Vallejo. It examines the influence of Vallejo's Marxist political views on his works while referencing many opinions and thoughts of several literary critics on the meaning of his poetry. The author studies the role the revolutions in the Soviet Union and Spain in the early 20th century had on the style and content of his poetry. The elements of realism and dialecticism evident in several of Vallejo's poems are also analyzed.

During the last decades, critics from different disciplinary fields in Argentina have revised the left-winged thought. Diverse studies that appeared along the decades of 1990 and 2000 were focused on Marxist legacies and the restitution of a left culture memory. As far as literary studies are concerned, current critics have not yet accomplished the exam of the essay-writings related to the left-winged intellectuality. This research paper intends to contribute to the history of the polemic around realism in Argentina by analyzing and confronting three essays which appeared in the 1960's: Realismo y realidad en la narrativa argentina, by Juan Carlos Portantiero (1961), "La cuestión del realismo y la novela testimonial argentina", by Héctor Schmucler (published in Pasado y Presente, April-June of 1963), and "La poètica realista en Argentina", by Ariel Bignami (published in Macedonio, winter of 1970). The present work aspires to show the way in which the authors move towards the essay genre in its condition of discursive practice that combines the approach of literature with the sociological perspective, and the cultural production analysis with the will of revising national history. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the fantastic literature. Though, the literary fantastic has problematized a charm with the boundaries and their collapse, the same can be said about the so-called mysterious verism in the contemporary fiction. It is not possible to give a definite and chronic definition of the literary fantastic, given that reader responses such as uncertainty, depend heavily on cultural conditioning, among other things. There are certain characteristics that are fundamental to this mode, and the primary one is the presence of at least some form of confusion of the reader by both story and discourse.

The article analyzes the poetic language of Mexican poet Jaime Sabines. It describes his use of language as rhetorical and colloquial conversation containing a catchy rhythm. The experience of death, illness and desire as well as the necessity to confirm one's material existence are all central to Sabines' work. The article examines these themes using one of Sabines' more well known poems "Los amorosos." The article also explores the use of human-machine systems imagery, or, cyborgs, in literature.

The article examines realism in the novel "Oír su voz," by Chilean author Arturo Fontaine Talavera. It argues that Fontaine's aesthetic is a crucial contribution to what is known as the "new" Chilean narrative that exclusively contains realistic themes. The novel, like other works of realism, contains aspects related to the bourgeoisie and institutes a model of pre-established ideas within the novel's "reality." The article explores these pre-established ideas within the narrative's characters, space, and action.

This work has two objectives. On the one hand, the analysis of paradoxical phenomenon in Mahfuz's literary work: the classical tradition of the shorts stories of The Thousand and One Nights during XXth Century, in spite of the own evolution of Modernism. On the other, the complexity of the narrative whose basis is the historical reconstruction of the modern Egypt. To combine all this, Mahfuz applies narrative mechanisms related with very special treatment of narrativity and fictionality. [ABSTRACT FROM AUTHOR]

This article presents a literary criticism for the genre of realism (realismo), represented by three novels, "Pedro Páramo," by Juan Rulfo, "La muerte de Artemio Cruz," by Carlos Fuentes, and "El limonero real," by Juan José Saer. The author analyzes the narrative and poetic elements of these works, which she contends contributes to and emphasizes their realistic characteristics.