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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 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 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.)

Through the narration of a dream, the article seeks to account for the fact that the formations of the unconscious are possible whenever subjects are involved in the social fabric. Just as a joke is a joke because there is someone to laugh at it, a dream, when it is narrated, becomes a text to be read. Subjects resort to these formations when they feel trapped due to an approximation to the real. Although the real appears as a boundary that halts writing, it is also the condition of possibility of subjective production. [ABSTRACT FROM AUTHOR]

This article inquires into the poetics of Héctor Viel Temperley and Leónidas Lamborghini based on the notions of subjectivity and experience that the authors develop in two central texts belonging to their respective oeuvres within the context of the 60's argentine poetry: Viel Temperley's Hospital Británico [British Hospital](1986), and Lamborghini's Carroña última forma [Carrion last form] (2001). Both act as a poetic summa that update their oeuvres from a carnavalesque and autoparodic vision of the poet and poetry, on the one hand; and on the other hand, from an intimate and confesional vision. Nevertheless, they are always in agreement at a mutual horizon: that of rewriting as a means of production and closure of textuality, as a mediation device between the literary work and the writer's life. [ABSTRACT FROM AUTHOR]

This paper presents rewriting as an exercise of response and / or revindication, studying and analyzing two examples of rewriting: Una tempestad [A Tempest] by Aimé Césaire and Ancho mar de los Sargazos [Wide Sargasso Sea] by Jean Rhys. Césaire takes William Shakespeare's The Tempest as source text, while Rhys works from the Victorian novel Jane Eyre, by Charlotte Brontë. The aim of this article is to identify the commentary or response made to these canonical works, modifying their meaning. For this, the concepts of canon and rewriting will be revised. The literary re-writings will be analyzed from their canonical base, and the central themes of the novels will be compared, as well as the treatment of characters and context, in order to detect the far and near reaches of these works in relation to the canonical texts, and identify the discourse intended by the authors of the rewrites. [ABSTRACT FROM AUTHOR]