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In der vorliegenden Arbeit soll aufgezeigt werden, daβ die Erzählungen von Tomás Carrasquilla Naranjo (1858 - Medellín, 1940) einen Wahrheitsgehalt (Benjamin, 2012) in sich bergen, eine temporäre konkrete Verwirklichung einer Idee, die sich materialisiert in dem, was ich hier Bild der Volksreligiosität nenne. Das heiβt, das Erzählwerk von Carrasquilla ist wie ein groβes Mosaik konstruiert, in dem das Zusammenfügen der verschiedenen und ungleichen Elemente, aus dem es besteht, ein Bild ergibt. Dieses Bild stellt die historische Erfahrung der Moderne in den ärmeren Bevölkerungsschichten dar, ausgehend von der flüchtigen Verbindung zwischen veralteten Traditionen und neueren Lebensformen. Weit entfernt von den Konventionen seiner Zeit, wo die Frage nach den Erfahrungen der Moderne groβstädtische Gebiete und die Rolle des Künstlers beinfluβt, fragt sich Carrasquilla, was in den weiten ländlichen Gebieten oder in den Grenzgebieten zwischen Stadt und Land geschieht, und nach den Überschneidungen. Die Bewohner dieser Gebiete, denen konzeptionelle Werkzeuge zur Definierung dieser neuen „lebenden Erfahrung“, dieser neuen Structures and Feeling, wie Raymond Williams sie nennt, (2019) fehlen, greifen zurück auf das Einzige, was sie kennen, das veraltete, mündlich übermittelte Wissen, um sich ihr Hier und Jetzt zu erklären. In diesem Sinne kann man behaupten, daβ Carrasquilla, indem er dieses Bild der Volksreligiosität benutzt, einen Dialog im literarischen Bereich herstellen wollte, von dem aus er eine differenzierende Idee der Moderne postulierte. Der Autor bekräftigte mehrmals, daβ die Literatur lokale Erfahrungen in den Dialog des Universellen einbeziehen sollte. Ein Beispiel dafür ist der Vergleich der Literatur mit dem Planetensystem, denn, wie Carrasquilla meinte, hierarchische Strukturen erscheinen, wenn diejenigen Länder, die literarische Modetendenzen produzieren, d.h. die Planeten (Europa), Andere zum Satellitendasein degradieren, d.h. zum Imitieren. Heute kann in dieser an seine Landsleute, die Modernisten aus Antioquia, gerichteten Kritik eine Geltendmachung der Alterität gesehen werden. Obwohl sich die Erfahrungen von denjenigen in den jungen groβstädtischen Gebieten, wo Güter zum neuen Ersatz von Glauben geworden sind, unterscheiden, wird im vorliegenden Text behauptet, daβ in den weiten Gebieten, die provinziell und weit entfernt vom Kontakt mit anderen Kulturen und anderem Wissen erscheinen, das Bild der Volksreligiosität dieselbe Rolle spielt. Mit anderen Worten, “indem an Dingen ihr Gebrauchswert abstirbt” (Nutzen oder Anbetung), weist die Subjektivität der Person ihnen “Intentionen von Wunsch und Angst” (Benjamin, 2013a). zu und verwandelt sie in Anbetungsobjekte, die bei sich getragen oder gesammelt werden. Auf ähnliche Weise bediente Carrasquilla sich des gesammelten Restwissens seiner hypothetischen Leserschaft, ein Erbgut verschiedener Kulturbereiche – dank des Kolonisierungsprozesses – sowie der entsprechenden unterschiedlichen Zeiten und Sprachen (Ette, 2019), um es mit den gegenwärtigen profanen Erfahrungen zu verbinden. So repräsentiert das Werk (Erzählung oder Roman) auf künstlerische Weise „Lebensformen“ der ärmeren Bevölkerungsschichten, durch die „auf ästhetische Weise erlebt“ werden kann, wie die Modernität in den marginalisierten Sektoren überlebt wird (Ette, 2015). Das heiβt, nur ausgehend vom Veralteten und Ruinösen der einst heiligen Volksreligiosität kann die Erfahrung der Moderne, ihr Hier und Jetz erklärt werden., This work aims to demonstrate the presence of a Wahrheitsgehalt -the temporary concretion of an idea (Benjamin, 2012) in the narrative work by Tomás Carrasquilla Naranjo (1858 - Medellín, 1940). This is materialized through what I called image of popular religiosity in this work. This means that the work of this Antioquian writer would be built in the manner of a large mosaic, in which despite the varied and uneven elements it is composed by, the union of all these produces an image (Bild). In this image, the historical experience of the modern in the popular sectors is represented from the fleeting union between the remnants of ancient traditions and the most innovative ways of life. Far from the conventions of his time, where the question about the experience of the modern redounds in the metropolitan areas and the role of the artist, Carrasquilla wonders about what happens in the extensive rural or liminal contexts between the urban and the rural, and their respective intersections. By lacking conceptual tools that allow them to define this new "living experience" and that new “Structures and Feeling” as Raymond Williams (2019) calls it, the subjects that inhabit these areas appeal to the only thing they know, which is the ancient knowledge orally transmitted to explain their present. In this sense, it is possible to affirm that Carrasquilla tried to establish a dialogue in the literary field by using this image of popular religiosity, from which he postulated an idea of the differential modern. On several occasions the Antioquian writer stated that literature should incorporate local experiences into the dialogue of the universal. An example of this is the simile of literature with the planetary system, since, according to him, hierarchical relationships are established when the countries that produce literary fashions, the planets (Europe) relegate the others to being simple satellites, that is, to imitate (Carrasquilla, 1991). Nowadays, it can be shown and seen a claim to otherness in the criticism Carrasquilla addressed to his Antioquian modernists mates. For what is postulated here, although these experiences are not like those that occur in the emerging metropolitan areas where merchandise represents the new substitutes for faith, in these extensive areas apparently provincial and far from contact with other cultures and knowledge, the image of popular religiosity comes to play the same role as those. In other words, “indem an Dingen ihr Gebrauchswert abstirbt” (utility or adoration), the subjectivity of the character loads them with “Intentionen von Wunsch und Angst” (Benjamin, 2013a.), turning them into objects of contemplation, either by carrying or collecting them. In a similar way, Carrasquilla would have used the accumulation of knowledge (Wissen) residual of his hypothetical readers and inherited from various cultural areas -during the colonization process-, and their respective and heterogeneous times and particular languages (Ette, 2019), to combine them with current profane experiences. Thus, the work (story or novel) would artistically represent popular "forms of life", through which it is "aesthetically experienced" how we survive (überleben) (Ette, 2015) modernity in marginalized sectors. This means, only from the ancient and ruinous of popular religiosity, once sacred, it is possible to explain the experience of the modern, and its present., Este trabajo pretende demostrar que en la obra narrativa del escritor Tomás Carrasquilla Naranjo (1858 - 1940) hay un Wahrheitsgehalt (Benjamin, 2012), la concreción temporal de una idea, que se materializa a través de lo que aquí he denominado imagen de la religiosidad popular. Esto quiere decir que la obra del antioqueño estaría construida a la manera de un gran mosaico, en el que pese a los variados y disparejos elementos que la componen, la unión de todos produce una imagen (Bild). En dicha imagen se representa la experiencia histórica de lo moderno en los sectores populares, a partir de la unión fugaz entre los rezagos de tradiciones vetustas y las formas de vida más novedosas. Lejos de las convenciones de su época, donde la pregunta por la experiencia de lo moderno redunda en los ámbitos metropolitanos y el papel del artista, Carrasquilla se pregunta por lo que ocurre en los extensos ámbitos rurales o liminares entre lo citadino y lo rural, y sus respectivos entrecruzamientos. Los sujetos que habitan estos ámbitos, al carecer de herramientas conceptuales que les permita definir esta nueva “experiencia viviente”, esa nueva Structures and Feeling como la denomina Raymond Williams (2019); apelan a lo único que conocen, los vetustos saberes transmitidos oralmente para explicar su ahora. En este sentido, es posible afirmar que Carrasquilla, valiéndose de esta imagen de la religiosidad popular, intentó establecer un diálogo en el campo de lo literario, desde el que postuló una idea de lo moderno diferencial. En varias ocasiones, el antioqueño manifestó que la literatura debía incorporar las experiencias locales al diálogo de lo universal. Ejemplo de esto es el símil de la literatura con el sistema planetario, pues, según él, las relaciones de jerarquía se establecen cuando los países que producen modas literarias, los planetas (Europa), relegan a los otros a ser simples satélites, es decir, a imitar (Carrasquilla, 1991). Hoy en día, se aprecia en aquella crítica dirigida a sus paisanos, los modernistas antioqueños, una reivindicación de la alteridad. Por lo que aquí se postula, que si bien dichas vivencias, no son similares a las que se dan en los nacientes ámbitos metropolitanos, donde las mercancías representan a los nuevos sustitutos de la fe; en esos extensos ámbitos, en apariencia provincianos y alejados del contacto con otras culturas y saberes, la imagen de religiosidad popular viene a desempeñar el mismo papel que aquellas. En otras palabras, “indem an Dingen ihr Gebrauchswert abstirbt” (utilidad o adoración), la subjetividad del personaje las carga con “Intentionen von Wunsch und Angst” (Benjamin, 2013a.), convirtiéndolas en objetos de contemplación, bien sea portándolas o coleccionándolas. De manera similar Carrasquilla se habría valido del cúmulo de saberes (Wissen) residuales de su hipotético público lector, heredado de diversas áreas culturales -durante el proceso de la colonización-, sus respectivos y heterogéneos tiempos y lenguas particulares (Ette, 2019), para aunarlos a las experiencias profanas actuales. Así, la obra (cuento o novela) representaría artísticamente “formas de vida” popular, a través de las cuales se “experimenta estéticamente” cómo se sobrevive (überleben) (Ette, 2015) a la modernidad en los sectores marginados. Es decir, solo desde lo vetusto y ruinoso de la religiosidad popular, otrora sagrado, es posible explicar la experiencia de lo moderno, su aquí y ahora.

Giros topográficos explora las producciones simbólicas del espacio en una serie de textos narrativos publicados desde el cambio de milenio en América Latina. Retomando los planteos teóricos del spatial turn y de la geocrítica, el estudio aborda las topografías literarias desde cuatro ángulos que exceden y transforman los límites territoriales y nacionales: dinámicas de hiperconectividad mediática y movilidad acelerada; genealogías afectivas; ecologías urbanas; y representaciones de la alteridad. A partir del análisis de obras de Lina Meruane, Guillermo Fadanelli, Andrés Neuman, Andrea Jeftanovic, Sergio Chejfech y Bernardo Carvalho, entre otros, el libro señala los flujos, ambigüedades y tensiones proyectadas por las nuevas comunidades imaginadas del s.XXI. Con ello, el ensayo busca ofrecer un aporte para repensar el estatus de la literatura latinoamericana en el marco de su globalización avanzada y la consecuente consolidación de espacios de enunciación translocalizados. Topographic turns investigates the symbolic productions of space in a series of narrative texts published since the turn of the millennium in Latin America. Drawing on theoretical approaches of the Spatial Turn and Geocriticism, the study critically examines literary topographies from four angles that exceed and transform territorial and national boundaries: dynamics of mediatic hyperconnectivity and accelerated mobility; affective genealogies; urban ecologies; and representations of otherness. Based on the analysis of works by Lina Meruane, Guillermo Fadanelli, Andrés Neuman, Andrea Jeftanovic, Sergio Chejfech and Bernardo Carvalho, among others, the book outlines the flows, ambiguities and tensions projected by the imagined communities of the 21st century. Overall the study seeks to offer a contribution to rethink the status of Latin American literature in the context of its advanced globalization and the consequent consolidation of translocalized spaces of enunciation.

Resumo Johann Nepomuk Nestroy (1801-1862) foi um dos dramaturgos mais importantes da história do teatro da Áustria. Ator e autor aclamado durante seu tempo, é também nome de referência e enorme influência para muitos escritores austríacos canônicos do século XX e do começo do XXI, que até hoje se definem como devedores de sua poética dramatúrgica (por exemplo, Karl Kraus ou Elfriede Jelinek). Este artigo, além de destacar o papel do dramaturgo com “ancestral” para uma parte da literatura austríaca, lança um olhar sobre a única tradução de uma peça de Nestroy disponível no Brasil (Cacique Vento-da-Tarde ou O festim do horror, publicada em 1990), com o intuito de colocar em questão a visão recorrente da obra de Nestroy como “intraduzível”. Abstract Johann Nepomuk Nestroy (1801-1862) was one of the most important playwrights in the history of Austrian theater. He was an acclaimed actor and author during his time, and he is also a reference writer and a huge influence for many canonical Austrian writers in the 20th and early 21st centuries, who today define themselves as debtors of his dramaturgical poetics (for instance, Karl Kraus ou Elfriede Jelinek). The article highlights the role of Nestroy as an “ancestor” for part of Austrian literature, and also looks at the only translation of a Nestroy play available in Brazil (Cacique Vento-da-Tarde ou O festim do horror, 1990), in order to call into question the common view of Nestroy's work as “intranslatable”.

Presentación de las contribuciones a este volumen sobre la cultura mexicana contemporánea, en cuatro grandes bloques: “Entre norte y sur: fronteras geográficas y culturales”, “La frontera interior: aspectos de cultura y género”, “La historia siempre viva: cuestiones de identidad y memoria”, “Chilangolandia, el gran monstruo: la Ciudad de México como espacio cinematográfico”.

Esta investigación propone un estudio transareal de las series autoficcionales del escritor austriaco Thomas Bernhard y el colombiano Fernando Vallejo, dos autores cuya obra se caracteriza por una dura crítica a sus países de origen, a sus Heimaten, pero también por un complejo arraigamiento. Los análisis interpretativos demuestran que en Die Autobiographie y El río del tiempo la Heimat se presenta como un constructo que abarca no solamente elementos dichosos, sino que presenta también elementos negativos, disolutivos, destructivos, con lo cual ambos autores de distancian de una concepción tradicional de Heimat como territorio necesariamente armónico al que el sujeto se siente positivamente vinculado. En cambio, ella se concibe como un conjunto disímil, frente al cual el sujeto se relaciona, necesariamente, de modo ambivalente y problemático. En ambos autores la narración literaria se configura como un acto en el que no simplemente se representa esa ambivalencia, sino en el que, sobre todo, se impugnan las formas de hostilidad que le confieren a la Heimat su carácter inhóspito. Para ello, ambos autores recurren a la implementación de dos recursos fundamentales: la mímesis y el movimiento. La investigación muestra de qué manera las obras estudiadas la Heimat se presenta como un espacio de continuos movimientos, intercambios e interacciones, en el que actúan mecanismos de opresión, pero también dispositivos de oposición, prácticas de apertura intersubjetiva y aspiraciones de integración comunitaria. This research presents a transareal study of the autofictional series of the Austrian writer Thomas Bernhard and the Colombian Fernando Vallejo, two authors whose work is marked by a fierce critique of their homelands, their Heimaten, but also by a complex rootedness. The interpretative analyses show that in Die Autobiographie and El río del tiempo the Heimat is presented as a construct that encompasses not only blissful but also negative, dissolutive, destructive elements, thus distancing both authors from a traditional conception of Heimat as a necessarily harmonic territory to which the subject feels positively attached. Instead, it is conceived as a dissimilar set, to which the subject relates, necessarily, in an ambivalent and problematic way. In both authors, literary narration is configured as an act in which this ambivalence is not simply represented, but in which, above all, the forms of hostility that give the Heimat its inhospitable character are contested. To this end, the authors resort to the implementation of two fundamental resources: mimesis and movement. The research demonstrates how their literary works present the Heimat as a space of continuous movements, exchanges and interactions, in which structures of oppression are at work, but also opposition mechanisms, practices of intersubjective openness and aspirations of community integration.

Tema de la comunicación: La influencia de la industria de la moda en las novelas naturalistas del siglo XIX, es decir, como el vestuario, o la ausencia de este, puede servir como instrumento de investigación social y literario. In the wake of the development of capitalism during the nineteenth century in Europe a very different way of dressing was established for men and women, whose main trends came from France and England. Spain, which was economically and culturally backward compared to the modernity of other European countries, still had a late influence on the wardrobe, especially around the end of the century. This period coincides with the maximum expression of Spanish literary realism and naturalism, in which it is possible to look for interesting elements of the characters' costumes to understand the society of that time. In particular, this article aims to analyse the work of Benito Pérez Galdós published in 1876, "Doña Perfecta", in which a woman manages to become a chief of a country in the province of Spain. Her authority is demonstrated not only through her attitude, but also by her wardrobe: the use of sober and dark colours is reminiscent of men's suits, thus male over female authority. However, Perfecta is also a mother, and that adds value to her government and her decisions, which are also an allegory of the figure of the Virgin. The conclusion of the analysis of this novel finds us in the reflection in which fashion is not simply something superficial that changes according to the frivolous taste of women, but a mirror of the model of women that is imposed by men on women. This social sign is essential to understand how patriarchal society tried to obtain absolute power at the end of the 19th century and the way women react to this imposition.

Lange Zeit galten Reiseberichte als Wegbegleiter des Kolonialismus. Dies ändert sich im Lateinamerika der 1920er Jahre, wovon die in Vergessenheit geratenen Feuilletonartikel, Tagebücher und Aufzeichnungen der chilenischen Nobelpreisträgerin Gabriela Mistral, des »Papstes des brasilianischen Modernismus« Mário de Andrade und des belgisch-französischen Avantgardisten Henri Michaux zeugen. Marília Jöhnk geht dem wissensgeschichtlichen Interesse der drei Reisenden am Kontinent und ihrem Spiel mit etablierten Formen literarischer Wahrnehmung nach. Mit dem tief in der aztekischen Mythologie verankerten Kolibri eint deren kleine Reiseprosa nicht nur die kompakte Größe, sondern auch die Mobilität und Geschwindigkeit.

Zum einen gilt es zu klären, inwiefern die im Zuge der empiristischen Neuausrichtung der Wissenschaften erfolgende Aufwertung von Beobachtungs- und Tatsachenwissen dem Archiv allgemein und der Bibliothek im besonderen die Rolle eines universalen Wissensspeichers zuweist und diesen Institutionen somit eine Schlüsselposition in der geplanten rationalen Erforschung und Beherrschung der Natur zukommen läßt. Zum anderen ist zu untersuchen, welchen Einfluß gesellschaftliche Demokratisierungsprozesse auf die Neukonzeption der Bibliothek ausüben, indem sie letztere in den Rang eines öffentlichen und möglichst pluralistisch verfaßten Meinungs- und Diskussionsforums zu erheben trachten. Erst im Kontrast zu diesen und doch auch im Anschluß an diese beiden historischen Typen eines Generalarchivs soll schließlich die Frage nach der Traum- bzw. Alptraumhaftigkeit des babylonischen Schriftkosmos erörtert werden, indem also eruiert wird, wie in Borges' literarischem Entwurf einer vollständigen Bibliothek der utopische Charakter des geschichtlichen Vollständigkeitsideals zugleich übernommen, radikalisiert und dabei doch auch im Geiste der Kombinatorik konsequent umgedeutet wird.

This paper addresses the constituent features of the textual type calledmemoria, in the context of the legal-administrative sphere of the ColonialEra. This textual type is embedded in both the Spanish and the native American legal tradition, so it is of particular interest for the history ofthe Spanish language, for the textual linguistics studies and for pragmaticsstudies. The research also aims to demonstrate that in the Peruvian judicial system of the 16th Century there was a particular type of memoria, modeledby the convergence of the Western way of recording data and the useof quipus as Andean recording medium. El presente artículo intenta aproximarse a los rasgos constitutivos del tipo textual denominado memoria, perteneciente al área jurídico-administrativa de la época colonial. Este tipo textual se enmarca tanto en la tradición judicial castellana como en la indiana, por lo que resulta de especial interés para la historia de la lengua española, así como para los estudios de lingüística textual y de pragmática. Asimismo, la investigación pretende comprobar que en el sistema judicial peruano del siglo XVI existió un tipo de memoria particular, formado a partir de la convergencia del modo occidental de registro de datos y del uso de los quipus como medio de registro andino.

INHALT: Introducción. Retrospectivas hemerográficas para una celebración; Ofelia HUAMANCHUMO DE LA CUBA: Acercamiento metodológico al estudio de las revistas culturales del Perú de entresiglos (XIX–XX); Giovanna MINARDI: La Bella Limeña (1872) y los inicios de la prensa femenina; Mónica CÁRDENAS MORENO: El proyecto modernizador de Clorinda Matto de Turner en la dirección de El Perú Ilustrado (1889–1891); Yasmín LÓPEZ LENCI: Cuzco reinventado entre ruinas y letras: las revistas culturales en la encrucijada moderna (1900–1920); Alonso RABÍ DO CARMO: La experiencia fundadora de Colónida (1916); Carlos ARRIZABALAGA: 'La protervia' y Mercurio Peruano: una correspondencia inédita (1919); Luis VERES: El indigenismo de la revista Amauta (1926–1930) y la imagen: una cultura de protesta; Juan GONZÁLEZ SOTO: El poema «Film de los paisajes», de Carlos Oquendo de Amat, en Boletín Titikaka (1929).

Elektronische Reproduktion von: Don Pedro Calderón's de la Barca geistliche Festspiele : in deutscher Übersetzung mit erklärendem Commentar und einer Einleitung über die Bedeutung und den Werth dieser Dichtungen / hrsg. von Franz Lorinser. - 15. Band. - Zweite, wesentlich umgearbeitete Auflage. - Regensburg : Manz, 1887. - 534 Seiten. - Standort: Universität Marburg, Universitätsbibliothek. - Signatur: 085 KOM K 25 c / 268 ab. - Bemerkungen: Werktitel der Teile: La vida es sueño. - Einheitssachtitel: El día mayor de los días. El nuevo palacio del retiro. - Enthält: Das Leben ein Traum. - Enthält: Das neue Armenhospiz. - Enthält: Der Tage größter Tag. - Enthält: Die allgemeine Amnestie. - Enthält: Das neue Lustschloß. - In Fraktur . - (Bibliothek Kommerell) Digitalisiert 2021

espanolEn el mundo narrado de las cinco novelas de La guerra silenciosa aparecen representadas ciertas circunstancias desfavorables a personajes principales, a grupos particulares,a comunidades enteras, a animales, e incluso tambien a entes geograficos, en el plano social, economico y geopolitico, como si fueran «enfermedades». Todas ellas(entre otras: mal de la invisibilidad, insomnio de siglos, epidemia de daltonismo, etc.) se pueden entender como enfermedades fictivas y agrupar en dos conjuntos para suanalisis: a) enfermedades fictivas con correlato en la realidad, y b) enfermedades fictivas y ficticias (sin correlato en la realidad). En ese sentido, el objetivo principal de estearticulo es describir dichos trastornos, afecciones y padecimientos desde el punto de vista de la medicina y de la teoria literaria, para perfilar las funciones narratologicasque cumplen dentro de la ficcion scorziana, a saber: utilizar la ironia y el humor como recursos discursivos en una literatura de denuncia social. EnglishIn the narrative world of the five novels in the series La guerra silenciosa, certain circumstances are depicted as unfavorable to the main characters, to particular groups,to entire communities, to animals, and even to geographical entities, on a social, economic and geopolitical level, as if they were 'diseases'. These include the illness of invisibility,centuries of insomnia, and an epidemic of color blindness, among others, and they can be understood as fictive diseases and grouped for analysis into two categories: (a)fictive diseases with a correlation to reality; (b) fictive and fictitious diseases without a correlation to reality. The main goal of this article is to describe these disorders, afflictionsand ailments from the perspectives of medical science and literary theory, in order to outline the narratological functions they perform within Scorzian fiction, namely:the use of irony and humor as discursive resources within a literature of social denunciation.

José Echegaray – der bedeutendste spanische Dramatiker des letzten Viertels des 19. Jahrhunderts, ausgezeichnet mit dem Nobelpreis für Literatur im Jahr 1904 – spielt im Titel seines Werks und in dessen Innerem auf den berühmten Vers 137 des fünften Gesangs von Dantes Inferno an: „Galeotto fu il libro e chi lo scrisse“. Nach einem einleitenden Überblick zur Dante-Rezeption auf der Iberischen Halbinsel bis zum 19. Jahrhundert analysiert der Beitrag die Rolle, die der Verweis auf die Episode von Paolo und Francesca aus der Divina Commedia im spanischen Werk spielt, d.h. die Funktion, die dieser Bezug in diesem neuen Kontext erhält.

Au regard des traites, largement repandus, d’education a l’usage des femmes, comme la Instruccion de la mujer cristiana de Juan Luis Vives, se pose la question de savoir si les figures feminines des drames de Calderon suivent les regles qui y sont indiquees. Si les reines chez Calderon ne beneficient jamais d’un pouvoir illimite, les epouses, en echange, ne sont ni sans volonte ni totalement passives.

The arrival of the Spanish in present-day Oaxaca, Mexico, led to manifold communicative challenges and was the origin of the first written documents in the local indigenous languages. This paper focuses on Spanish-Zapotec translations produced by Christian missionaries during the colonial period. In this context, it aims to investigate the expression of the concept of soul in their catechisms and confesionarios by analyzing chronologically how different authors apply the Spanish synonyms alma and ánima. On the one hand, we can observe some similar tendencies in central Mexican documents for the early colonial period so that we can assume that the corpus was influenced by Nahuatl translations. On the other hand, there is an independent development in Spanish-Zapotec translations not only regarding the target text but also the source text.

Resumo A temática da decadência em “Os Buddenbrook”: decadência duma família” é explícita: materializa-se enquanto subtítulo da obra literária. Em “Os Maias”, repete-se a estrutura essencial do título anterior, focalizando-se um nome de família. Sabe-se, entretanto, de antemão, que o enredo contemplado pelo romance de Thomas Mann perpassará por episódios cujo desfecho está no desnodar decadente das gerações da família Buddenbrook, o que, ainda que não explícito, repete-se na obra de Eça de Queirós. Para concretizar de forma estética a temática pretendida, ambos os autores focalizam cada geração das famílias ficcionais, desnudando dialeticamente pensamentos e papeis sociais. Desse desnudamento, um traço se mostra compartilhado por quase todas as personalidades: a preocupação para com a perpetuação do nome da família; fardo que pressagia a total extinção de ambos os antropônimos. A fim de demonstrar a relação da nomeação com a temática da decadência familiar, este artigo propõe um diálogo entre a Literatura Comparada e a Antroponomástica Ficcional - estudo dos nomes ficcionais - e situa o processo da despersonalização subjetiva do nome de família para a concretização do ápice da decadência: o desparto social do nome. Abstract The theme of decay in “The Buddenbrooks: decline of a family” is explicit: it materializes as a subtitle of the literary work. In “The Maias”, an essential structure of the previous title is repeated, focusing on a family name. It is known, however, beforehand, that the plot contemplated by the novel by Thomas Mann will run through episodes whose outcome lies in the decaying decay of the generations of the Buddenbrook family, which, although not explicit, is repeated in the work of Eça de Queirós. In order to achieve the desired aesthetic theme, the two authors focus on the generation of fictional families, stripping down social thoughts and roles. Of this stripping, a trait is shown to be shared by almost all personalities: a concern with the perpetuation of the family name; a burden that presages the total extinction of both anthroponyms. In order to demonstrate the relationship of the nomination with the decay thematic, this article proposes a dialogue between Comparative Literature and Fictional Anthroponomics - study of fictional names - and the status of the process of depersonalization composed of the family name to the top of the decay: the social not give birth of the name.

This article will examine the cinematic approach to the trauma of the Falklands/Malvinas War in Lola Ariasʼ film Teatro de Guerra (AR/ES, 2018). The armed conflict between Ar-gentina and Great Britain in 1982 can be understood as a traumatic liminal experience, whose artistic reception pushes conventional aesthetics to their limits and calls for innova-tive representational strategies. Based on a cultural studies approach to the Falklands/Mal-vinas War as a collective trauma, this contribution will highlight selected moments of aes-thetic border crossing in Teatro de Guerra, by which the film succeeds in transcending boundaries between former enemies of the war.

The encounter with non-human animals has always been a major preoccupation in the (philosophical) quest of understanding the human (condition). Of course, they are not only present in literary texts, but also in other media such as music and art. We consider ourselves aware of their selves, natures and skills as well as their sensory perceptions. Indeed, the ways we interact with non-human animals in everyday life and in the fictional world, how we perceive, think and talk about them as well as how we communicate with them are often related to our own self-perceptions in the social collective and in social-historical discourse. If we take a closer look at literary interspecies relations, we can detect clear shades in language and communication. Based on the approaches of Human-Animal Studies, this article deals with those nuances regarding animal-human encounters in Juan Ramón Jiménez’ Platero y yo (1914/1917) and Thomas Mann's Herr und Hund (1919) in a comparative perspective. In addition to this, a special focus is placed on the effect these elements can have on (inter)acting literary subjects as well as on extra-textual recipients.

Auschwitz es una metáfora y una metonimia de los campos de exterminio y un símbolo y sinónimo de los crímenes nazis. Se refiere tanto a las víctimas del nazismo como a los perpetradores que huyeron después de la Segunda Guerra Mundial a Sudamérica, a veces en el mismo barco que los refugiados judíos. Desde el nuevo milenio puede constatarse un verdadero boom de textos literarios y fílmicos provenientes del Cono Sur que se apropian de esta temática y forman un nuevo subgénero de manifestaciones artísticas ficcionales y factuales que se analizan en este estudio. Mientras que los documentales, las novelas testimoniales, los testimonios de sobrevivientes judíos y las novelas autobiográficas recurren a una representación seria y realista, existe también una vertiente opuesta, provocadora e irreverente que se manifiesta en historias contrafácticas, sátiras malvadas, parodias espeluznantes o en caricaturas e historietas. Todas estas figuraciones revelan menos sobre el nazismo histórico que sobre los imaginarios que se vinculan a él, entre los que se destacan mitos y teorías de conspiración (Hitler en Argentina, el IV Reich, el oro nazi) y temas (des)tabuizados de colaboración, oportunismo y relaciones prohibidas.

Zwei sehr unterschiedliche Romane haben Ende des 20. Jahrhunderts frischen Wind in die Segel der träge gewordenen Erzählliteratur geblasen: Michel Houellebecqs "Ausweitung der Kampfzone" und "Die wilden Detektive" von Roberto Bolaño. Beide gehen in ihrer formalen Machart ein hohes Risiko ein, beide meistern es – und beide sind autobiographisch grundiert. Allerdings nicht so, dass das Gelebte und das Geschriebene in irgendeiner Weise parallel verlaufen würden, vielmehr setzt die Gestaltung unweigerlich einen Prozess der Umgestaltung in Gang, so dass sich Dichtung und Wahrheit, um das einst von Goethe aufgetane Gegensatzpaar zu bemühen, tief ineinander verstricken. Der Anteil der Fiktion ist in beiden Büchern ebenso hoch oder höher als die schmerzhafte und lustvolle Erfahrung, die den Autor zur Verarbeitung drängte. Wobei der Schmerz beim Franzosen überwiegt, beim Chilenen alles in allem die Lust. Bolaños Roman zeichnet aus vielen verschiedenen Perspektiven die Wege und Etappen Arturo Belanos nach; schon der Name des Protagonisten verweist darauf, dass es sich um ein Alter-Ego des Autors handelt.

Die epistemologisch begründete Transformation von Epen in der Romantik wird am Beispiel des paradigmatischen Falls \(\it Granada\) (1852) von José Zorrilla besonders deutlich. Ausgangspunkt ist hierbei die Annahme, dass sich die Aufwertung der Legende bei Zorrilla durch die Legendarisierung des Epos auf inhaltlicher, formaler und autoreflexiver Ebene manifestiert. Der gedankliche Hintergrund, vor dem Zorrilla seine gattungsentgrenzenden Manifestationsformen entfaltet, scheint Johann Gottfried Herders zeitgenössische Definition der neuen Epopöe und Legende zu sein. Hinzu kommen intertextuelle Referenzen der islamischen Texttradition und die Diskurse über schwarze und weiße Magie in der Romantik, die das Epos insgesamt im Spannungsfeld einer nationalen, subjektiven und universellen Lektüre einordnen.

Gabriel García Márquez, in an interview with Plinio Apuleyo, described Cien Años de Soledad as a “poetical synthesis of the tropic”, which he accomplished by putting together “a few scattered elements, but united by a very subtle and real subjective coherence” (Apuleyo Mendoza, 1993, p. 17). Considering this idea, we could identify the two most important elements for the writer when conceiving the novel: first, the specific poetical language, which we could name as “style”, and second, that coherent subjective reality, which is reached, together with stylistic features, with elements of his local reality, some of which are referred to in this research as Realia. The poetical style of the novel is characterized by, among other stylistic features, the frequent use of a regional and familiar register, which contribute to build up its specific tone and atmosphere. The Realia refer to and describe a local reality at the same time that they participate in the configuration of the narrative world. Both elements, being language and culture specific respectively, could be problematic in a process of translation. Given the importance of these language features in the composition of the novel, the question about their interlingual transfer results relevant for the reception and interpretation of the novel in translation. How did translators achieve the transfer of such strong contextual-dependent elements? Could the readers of those translations experience the effect of nostalgia, familiarity and even intimacy as many of the Spanish version readers claim to feel each time they read the novel? My objective with this dissertation is to analyze stylistic issues and Realia used by Gabriel García Márquez in Cien Años de Soledad (1967) and their translation into French (1968) and English (1970). This analysis aims to determine the effect spectrum of the translation formulations in the recreation of the novel in both target languages (TLs). It is important to mention that even if this analysis is developed within some relevant issues of translation studies, its purpose is not to extensively discuss abstract translation theories. Additionally, being the focus linguistic constructions that could be problematic in a process of translation between the ST and the selected TTs, the selection of Realia and Style features follows this aim, leaving outside the analysis many other narrative elements of GGM’s fictional universe. Moreover, the analysis of style features is a mere observation and a hypothesis about the translations. I do not pretend to reduce the universe of style mechanisms used in the novel to the selected categories and annotations that I made in this thesis. These discussions, which exceed the borders of our proposal, are potential material for further research. How do we plan to achieve the objectives of our research? In a first moment, with a theoretical exploration of the key discussions and problematics about literary translation and about this specific novel. Later on, with the selection of examples of both Realia and Style features and their subsequent analysis as textual units using a comparative-descriptive model. And, additionally, by considering as causal conditions - following the causal model - the shifts, contrasts and modifications carried out by the formulations in both target texts as well as extra textual issues affecting the way the translators decided on these formulations. With the results of the comparative and causal analysis in hand, we are able to arrive at a characterization of the effect spectrum of the translation formulations in both translated texts.:CHAPTER I-Introduction CHAPTER II- The original is unfaithful to the translation: a theoretical approach on literary translation issues 1.Literary translation: a cultural and linguistic transfer 1.1. Issues of literary translation 1.1.1. Sense Vs. form or “les belles infidèles” 1.1.2. Source or target language orientation 1.1.3. Equivalence, adaptation, approximation 1.1.4. Untranslatability 1.2. Cultural- oriented approaches 1.2.1. Rewriting and manipulation 1.2.2. The restitution of meaning 1.2.3. Skopos or functional theory 1.2.4. The translator’s invisibility 1.2.5. Integrated approach on translation: linguistics, literature and culture 2. Narrative register in translation 2.1. Referential level: Realia 2.2. Textual level: Style 3. The literary translator: individuality and style 4. Cultural translation 4.1. Cultural translation: an overview 4.2. Cultural translation and interlingual translation 4.3. Cultural translation and the translation of Realia and style CHAPTER III- Hasta las cosas tangibles eran irreales: on magical realism and Cien Años de Soledad 1. Magical realism: The background of a term 2. Subverting the real: Magical realism and its neighboring genres 3. Magical realism’s style in Cien Años de Soledad 3.1. Local color and sense of absurdity 3.2. The ‘brick tone’ 4. Historical, social and literary contextualization of Cien Años de Soledad and its translations 4.1. The writer 4.2. The novel 4.2.1. Social, political and literary panorama during the sixties 4.2.2. The plot 4.2.3. Literary construction 4.2.4. Political dimension of CAS: between reality and realism 4.3. The translations: why focusing on the English and French version? 4.3.1. The English translation: socio-cultural context of TC1 and description of TT1 4.3.2. The French translation: socio-cultural context of TC2 and description of TT2 CHAPTER IV- Macondo era entonces una aldea de veinte casas de barro y cañabrava: Realia and the foundation of the fictional world 1. The definition of Realia 2. Categorization of Realia in the novel 3. Descriptive analysis: Realia in ST and in TTs 3.1. Natural environment: vegetation 3.2. Natural environment: animals 3.3. Natural environment: geography 3.4. Social interactions: social practices 3.5. Social interaction: oral traditions 3.6. Social interactions: Forms of address 3.7. Social interactions: Politics 3.8. Material heritage: Food 3.9. Material heritage: Tools 3.10. Material heritage: Constructions 3.11. Material heritage: Ritual objects 4. Formulation techniques for translating Realia in TTs 4.1. Formulation techniques 4.1.1. Elimination 4.1.2. Adapted formulation 4.1.3. General formulation 4.1.4. Descriptive formulation 4.1.5. Denotative formulation 4.1.6. Loan formulation 4.1.7. Inferred formulation 4.1.8. Textual functional formulation 4.1.9. Borrowing formulation 4.1.10. Combinations 4.1.11. Frequency of use 4.2. Orientation 4.3. Interferences 4.3.1. Literary interferences 4.3.2. Socio-Linguistic interferences 4.3.3. Semantic interferences 4.3.4. External interferences CHAPTER V- Las claves definitivas de Melquíades: Style and the fuzziness of reality 1. Hyperbolization- Outsized reality 1.1. Adjectivisation 1.2. Natural metaphors 1.3. Fixed locutions and statements 2. Orality effect- radio bemba 2.1. Swear words 2.2. Euphemisms 2.3. Irony 2.4. Colloquial lexical choices 2.5. Neologisms 3. Summary CHAPTER VI- Macondo era ya un pavoroso remolino de polvo y escombros : The effect spectrum of translation in the novel Cien Años de Soledad 1.Gregory Rabassa’s translation: fluent, standard, exoticizing 1.1. Formulation techniques and orientation in local unities 1.2. Influences, restrictions and priorities in Rabassa’s translation of Cien Años de Soledad 1.2.1. Influences: between the actual and the implied translator 1.2.2. Textual and extra textual restrictions 1.2.3. Rabassa’s translation decisions priorities 1.3. The effect spectrum of Rabassa’s translation 1.3.1. Fluency 1.3.2. Standard register 1.3.3. Exoticization: the foreign as magical 2. Claude and Carmen Durand’s translation: colloquial, foreignizing, functional 2.1. Formulation techniques and orientations in local units 2.2.Influences,restrictions and priorities in Durand’s translation 2.2.1. Influences: between the actual and the implied translator 2.2.2. Textual and extra textual restrictions 2.2.3. Priorities for the translation decisions 2.3. The effect spectrum of Durand’s translation 2.3.1. Colloquial register 2.3.2. Foreignising 2.3.3. Functional 3. Summary CHAPTER VII- Ya nadie podia saber a ciencia cierta dónde estaban los límites de la realidad: Final considerations 1. The borders of reality: magic and realism 2. Domestication, foreignization, exoticization 3. The translator’s voice in literary criticism 4. Summary and outlook BIBLIOGRAPHY

Im Mittelpunkt dieses Aufsatzes steht Unamunos 1895-96 verfasster, aber erst 1994 erschienener Roman „Nuevo mundo“, bei dessen Einordnung in das Gesamtwerk des Autors folglich noch Pionierarbeit zu leisten war. (Die Existenz dieses Werks war der älteren Kritik zwar bekannt gewesen, nicht aber dessen Text; Zubizarreta hatte 1960 folglich von „Nuevo mundo“ als „la desconocida novela de Unamuno“ gesprochen.) Die hier geleistete Analyse zeigt, dass dieser Roman bereits auf Unamunos existentielle Krise von 1897 vorausverweist; auch darf „Nuevo mundo“ gattungsgeschichtlich als Vorläufer der innovativen Romanform der „nivola“ gelten (ein von Unamuno in „Niebla“ geprägter Begriff).