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In the poetry of Federico García Lorca, the use of exclamation marks and, consequently, of exclamations, is extensive. What is interesting is that the poet should have had recourse to punctuation so evocative of the speaking and feeling subject at a time when dehumanization was the governing principle in art. This paper explores the way in which Lorca handles exclamations and what it says about the extent to which he submitted to or resisted dehumanization in his work. It begins by quantifying Lorca's use of exclamations before moving on to consider its evolution across his principal poetic collections. [ABSTRACT FROM AUTHOR]

This work analyses the struggles with Franco's censorship that José María Castellet had to face when he embarked on three anthology projects that were decisive in the history of post-war Spanish poetry. The particular severity with which Nueve novísimos poetas españoles (1970) was received invites us to focus on this anthology, which, with qualities that should have made it more resistant, fell foul of censorship in a way that its anthological predecessors did not. On the one hand, reflection on this paradox leads us to venture hypotheses about the dynamics of the repressive body's actions. On the other hand, a thorough analysis of the censorship dossier of Nueve novísimos allows us to draw some interesting conclusions. It is true, for example, that the elliptical diction introduced by the novísimo poets protected the anthology from a much wider purge. However, the censorship actually practised, which polished the more obvious aspects of its insurgent vocation, was enough to alter the historical reception and, by extension, the historiographical significance of a book that was stubbornly denied its subversive substance. The discovery of an unpublished composition by José María Álvarez is certainly not the least of the surprises of the archival side of this research. [ABSTRACT FROM AUTHOR]

Early Modern Spanish literature, also known as Golden Age Spanish literature, is a well-established period in the History of Spanish literary tradition, covering from the beginning of the sixteenth century to the end of the seventeenth century, from Renaissance to Baroque works. In the case of poetry, the stylistic change from one aesthetic to the other has been examined from a historical point of view, with some scholars considering a transitional group of poets between both stylistic movements, and many pointing to the writer Fernando de Herrera (1534–1597) as a bridge between the Renaissance style of Garcilaso de la Vega (1501–1536) and the Baroque of Luis de Góngora (1561–1627). This paper examines the stylistic change from Renaissance to Baroque in Spanish poetry and Herrera's place on it from a quantitative, computational point of view, applying a methodology which combines Stylometry and Network Analysis to a big corpus of poems and authors writing in this period. The resulting stylometric network for Renaissance and Baroque poetry proves there is a computationally measurable chronological evolution in the texts of this period, as well as a change of style from Renaissance to Baroque, and supports the existence of a transitional group of poets between these two literary movements, one of which is Fernando de Herrera. [ABSTRACT FROM AUTHOR]

This paper investigates the poetic reality in Primer exilio by Ernestina de Champourcín, an understudied and forgotten female poet of the Generation of '27, also known as the Silver Period in 20th Century Spanish Poetry. Most of the 1927 Generation poets were exiled to Europe or Latin America during the Spanish Civil War or in its aftermath, and they were only able to return to Spain after the death of General Franco. Upon their return, they had difficulty in adjusting to their homeland. The female poets shared the journey of their male counterparts in their social struggle and experienced the same tragedies. Although their intellectual and artistic identities were known, these female poets, among whom were important thinkers, artists, writers, and translators, did not receive the due attention they deserved as their works were not included in the poetry anthologies of the period and were disregarded by literary critics, which delayed their rightful recognition and acknowledgement in Spanish literary history. By considering the social and cultural climate of its era, this paper explores the poetic realism in Primer exilio by Ernestina de Champourcín, who was born in Vitoria in 1905. After a discussion of the historical, social, and cultural circumstances of the period in which the poet lived, which was a critical moment in Spanish history, her poetic inclinations and the influences on her poetica are evaluated and the poetic realism created in her work Primer exilio is exemplified by poems translated from Spanish into Turkish. As a topic that has only very recently received attention, this paper references articles by Spanish poetry scholars and critics as well as the poet's own thoughts and poetry. [ABSTRACT FROM AUTHOR]

Copyright of Studia Romanistica is the property of University of Ostrava, Faculty of Arts 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 Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts 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 RILCE. Revista de Filología Hispánica is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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 consideration of the essential unity of all the arts is determinant in the esthetic ideology of Juan Ramón Jiménez. From this ideal of unity the poet proposes the breaking of limits between poetic, musical, and pictorial languages. This paper establishes the connection of his first books of poetry with painting; analyzes the uses of ekphrasis in Diario de un poeta recién casado and different portraits of painters in Españoles de tres mundos; and also analyzes his personal relationships and varying opinions on different Spanish artists. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Hispanic Studies (1475-3839) 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.)

This paper offers an approach to a unique representation of Cuba in the poetry of Gertrudis Gómez de Avellaneda. Specifically, it takes two poems as fundamental referents marking two essential moments in Avellaneda´s life. The first, 'Al partir', is a sonnet of 1836, when Avellaneda left Cuba for Spain. The second, 'A un cocuyo', is one of the poems that Avellaneda writes in Cuba upon her return to the island in 1859, after a twenty-three-year absence. This analysis explores the construction of Cuba in the poetry of Avellaneda, particularly the presence of Cuban 'spirits' in these two poems, and their relationship. [ABSTRACT FROM AUTHOR]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd 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 Medievalia is the property of Instituto de Investigaciones Filologicas - UNAM 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 analyses the impact of blogs on the Hispanic literary field, and how the spreading of blogs concerned with literary critics and poetry is questioning traditional hierarchies. It looks at how literary reviews and critics on the Internet are superseding traditional criticism, which has been accused of an excessive interdependence between publishers, newspapers, poets, and critics. It will be argued that, in this competition between paper and Internet media, the former often functions as a conservative academic bastion whose prestige is being constantly contested. In addition, attention will be paid to websites like Las afinidades electivas, defined as 'an attempt for virtual interconnection between contemporary Spanish poets', social networks which recently have influenced other collective initiatives. In all these cases, the focus will be on the formal and thematic challenges which this new medium of diffusion offers for the development of a new literature. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Hispanic Studies (1475-3839) 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 RILCE. Revista de Filología Hispánica is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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 RILCE. Revista de Filología Hispánica is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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 Rivista di Filologia e Letterature Ispaniche is the property of Edizioni ETS s.r.l. 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 Bulletin of Hispanic Studies (1475-3839) 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 Olivar is the property of Universidad Nacional de La Plata 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 Romanica Olomucensia is the property of Palacky University in Olomouc 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 Olivar is the property of Universidad Nacional de La Plata 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 Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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.)

There remaining a few pockets of resistence to overwhelming evidence in favour of the Eastern Arabic ultimate background of the meters and metrics of Andalusi Stanzaic poetry, it behooves impartial scholarship to deal with alternative arguments eventually raised by those still defending the Hispanic hypothesis, and such is the purpose of this paper, in which the author takes issue with an allegedly early Stanzaic Irish poem with a "zajalesque" structure, as well as with an attempt at proving that a non-Khalilian, presumably Hispanic type of metrics was practiced in Al-Andalus. The final portion of this article is devoted to some thematic allusions to prostitution, restricted to non-Muslim women, and homosexual love in Andalusi Stanzaic poetry, not entirely a novelty but however exhibiting some interesting nuances. [ABSTRACT FROM AUTHOR]

This article explores the presence ofHTV/AlDS in the Spanish poetry of the 1980s and the early 1990s. The emergence of HTV/AIDS as a literary topic in Spain followed a much slower pace than in other Western countries, to the extent that, during the time frame studied in this paper, poetic responses to the crisis were extremely rare. Moreover, these responses d id not adopt an activist approach when representing the epidemic, nor d id they openly denounce the discrimination suffered by people living w ith HTVIA1DS in Spain. Instead, these texts depicted the disease and its consequences in an oblique and metaphorical way. In the first half of the article, I describe the Spanish poetic corpus of HTV/AIDS, arguing that its indirect approach to the epidemic reflects not only a particular aesthetic choice (namely, that of the neo-baroque), but also a specific sociopolitical background that prevented the emergence of activist approaches to the crisis in Spain. In the second half of the article, I study one particular collection of poetry that illustrates the aesthetic and epistemic characteristics of the Spanish poetry o f HIV/AIDS: Cristal de Lorena (Lorraine Glass) (1987), by Aníbal Núñez (1944-87). [ABSTRACT FROM AUTHOR]

This essay addresses Pablo Neruda and Nancy Cunard's Spanish Civil War poetry anthology Los poetas del mundo defienden al pueblo espanol alongside Cunard's earlier anthology, her massive and eclectic Negro: Anthology (1934). I argue that when read alongside Cunard's later, lesser-known collaboration with Neruda, Negro can be seen as one part of Cunard's larger trajectory as an editor of coalitional anthologies. Los poetas, an understudied collection of modernist poetry deserving of recovery in its own right, also allows greater perspective of Cunard's earlier anthology. Reading Negro alongside Los poetas makes clear that the stakes of the project, along with the current academic discourse surrounding Cunard, are rooted in questions of the possibility of coalition. Ultimately, I argue that these anthologies uniquely model within their aesthetic form the organization of the political coalitions they seek to produce. They are coalitional, with the goal of bringing disparate elements into productive harmony, in both aesthetics and praxis. I locate what I call coalitional aesthetics within each volume, simultaneously attesting to the disparity of its constituent parts and to their unity. Coalitional aesthetics do not smooth over incongruities between individual parts but rather emphasize them, insisting on their singularity even within the whole they comprise. [ABSTRACT FROM AUTHOR]

Copyright of Revista Canaria de Estudios Ingleses 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 author argues that the life experience and poetry of Andalusian princess and poet Wallada Bint al-Mustakfi are evidence that Muslim women were persistent speakers even before the advent of 19th-century European colonialism. Topics include Wallada's influence on the poetry of Ibn Zaydun and his ghazal poem of the al-Andalus "Nuniyyah," the contribution of Wallada to European culture and literature, and how Wallada's literary production contests Europe's views as a superior civilization.

From the so-called «fin de siglo» to the thirties some of the Spanish poets relied on the folk song -and more specifically on the «cante jondo» or flamenco- to define an alleged Andalusian soul. In opposition to the cheerful, colourful and folkloric Andalusia described by poets like Reina and Rueda, there are other Modernist authors like Villaespesa, Sánchez Rodríguez, Juan Ramón Jiménez or Darío who refined the literary image of Andalusia from the distinctive notes of sadness or grief, thus initiating a thematic chain which from the twenties extended Lorca's image of «Andalucía del llanto» under Neopopularism and the Vanguard movement. This trend continued in the next decade, when Cansinos Assens and the Caba brothers placed similar emphasis on tragic Andalusia, based on an analysis of the «cante jondo» in which metaphysical, social and historical aspects were mixed. This paper aims to examine some of the key aspects of the relation between the sadness of the Andalusian song and Spanish poetry in the first third of the 20th century. [ABSTRACT FROM AUTHOR]

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Copyright of Boletín Galego de Literatura is the property of Universidad de Santiago de Compostela, 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.)

Copyright of Boletín Galego de Literatura is the property of Universidad de Santiago de Compostela, 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.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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.)

Discusses the conversion and diversion in Iberian cutting poems. History of the Castilian cutting poem; Characteristics of the medieval cutting poems; Information on the cancionero poems.

Six of the seven vihuela publications that came out of Spain between 1536 and 1576 contain a group ofworks distinguished by two elements that were newto Spanish music: the use of through-composedforms and hendecasyllabic verse. Since these featurescharacterize the Italian madrigal, I argue thatthese works announce the arrival of this new genreinto Spain, and represent the first attempt to adaptthe foreign genre to Spanish sensibilities, for collectionsof vocal madrigals only begin to appearafter 1550. Often overlooked because they appear ininstrumental collections, the pieces in the first threecollections show that vihuelists working at Italianatecourts embraced the genre in the 1530s, but adaptedit to a different medium, the vihuela song, and usedboth voice and vihuela to express the nuances ofthe fine poetry they chose to set. The later three, where intabulations predominate, represent thediffusion of the genre into urban centres and indicatethe Italian madrigals that appealed to Spanish audiences, mainly those by the first generation ofmadrigalists, which although expressive of the contentand emotion of the text, represent an approachthat Spaniards identified with. [ABSTRACT FROM AUTHOR]

Se presenta un resumen para el artículo "Sobre el pensamiento amoroso de Quevedo."

This article outlines a family resemblance in the work of authors and film-makers of the 1960s and 1970s in Spain. In the light of the international zeitgeist most often termed “antipsychiatry,” the works of Michel Foucault (1926–1984) and R. D. Laing (1927–1989) make up the critical focus for the formulation of an “antipsychiatric aesthetic” in Spanish literature. In the novelsTiempo de silencio(1961) by Luís Martín-Santos (1926–1964) andVolverás a Región(1967) by Juan Benet (1927–1993), and the filmEl espíritu de la colmena(1973) directed by Víctor Erice (1940–), this antipsychiatric aesthetic explores the relationship between doctor and patient in poetry as Scottish antipsychiatrist R. D. Laing had in practice. Contemporary to Foucault and Laing’s critique of the managerial doctor figure, these three texts re-enact this critique and extend its remit to embody the reader–writer/author–text/text–reader dialectic. Consequently, a specifically Iberian school of critical theory becomes apparent, that responds to the existential writings of Miguel de Unamuno (1864–1936). Embedded within these poetics are attempts to reframe the ontological anxieties that stem from a subjective experience of silence and control. [ABSTRACT FROM PUBLISHER]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd 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 deals with Italian influence over Spanish octosyllables. It brings into focus three kinds of images: those related to mythology, to descriptio puellae and to witty Petrarchism. Taking the analysis of these images as its starting point, the present paper proposes that spanish octosyllables were renewed from 1560 onwards, and that they were influenced by poesia cortigiana rather than by bembian Petrarchism.

This essay examines a common motif in Italian and Spanish Petrarchan poetry: the lover who speaks with a river or stream. It argues that this topos often has a metatextual function. Through close readings of texts by Petrarch, Bernardo and Torquato Tasso, Garcilaso de la Vega, Herrera, Góngora and Quevedo, the study examines how the motif is used to explore the function of poetry and the relation between the author and the poem. [ABSTRACT FROM AUTHOR]