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Sobre el exilio desde el sin sentido, del abandono y la soledad que suscita encontrarse fuera de la propia patria o en cualquier situación derivada del absurdo de la condición humana. Esta aportación es una reflexión sobre la reivindicación que María Zambrano hace del exilio español para poder afirmar que el exilio es el lugar privilegiado para el conocimiento de sí misma y el descubrimiento de la propia patria.

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Copyright of Álabe is the property of Alabe 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 Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy 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.)

Using a psychoanalytic approach, this article treats key aspects of La vida es sueño that go beyond the rivalry between Basilio and Segismundo. It examines the ways in which Segismundo is a man who has been turned into a monster, depriving him of all maternal nurturing. The article probes the meaning of the dream in the palace and the subsequent reactions of father and son to the dream. Rosaura and Segismundo, the other dyad, function as sibling figures who aspire to be recognized by their fathers. With Rosaura's help and by marrying Estrella, Segismundo counteracts the maleficent power of the stars ("las estrellas") as Basilio understood it. Lastly, the ending of the comedia is called into question (the supposed triumph of honor over love, or reason over passion) by paying attention to the unconscious voice of the play, what Freud called "the other scene." [ABSTRACT FROM AUTHOR]