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Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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.)

Insurgency, kidnap for ransom, banditry, herdsmen-farmers clash, and gruesome killing of individuals have become quotidian security realities in contemporary Nigeria. Scholarly approach to this concern has often resulted in criticism domiciled only at leadership while neglecting the role of the followership in this security predicament. This paper is therefore designed to examine the representations of the complicity of the people in insecurity using Femi Osofisan’s Aringindin and the Nightwatchmen (2002) as a case study. The investigation combines a deliberate look at the dramaturgical devices employed by Osofisan to enhance this representation. Georg Lukacs’s theory of literary realism and Achille Mbembe’s model of the Postcolonial theory are adopted as the framework for the study to unravel the complicity of the people. At the same time, the method applied is the interpretive design and the socio-artistic approach to literary criticism. Osofisan deploys dramatic metaphor, aesthetics of masking, Orunmila motif, and Satire to unmask the villains who mystify efforts to address insecurity and throw the state in a nightmare. The revelations are incredible even as vigilantism is deconstructed. The play points attention to the need to carefully examine proposals on ending insecurity in Nigeria while also contributing to emerging scholarship on investigating the followers with regards to their contribution to their disillusionment.

The article takes a poetological approach to the thematising of everyday life and its connections with the poetics of the "effect of the real". Methodologically, it is part of the research concept of the new poetics. On the material of a canonical text of Slovak literary realism -- the novella "Neprebudený" ([The unawakened] 1886) by Martin Kukučín (1860 -- 1928) --, it identifies poetological characteristics of the novella, reveals its existential parameters, and points to the place of M. Kukučín in the ironic-polemical line of modern Slovak prose. This innovative approach allows for identification in the structure of the text the tradition of the poetics of grotesque realism as conceptualised by M. M. Bakhtin on the folk culture of the Middle Ages and the literature of the European Renaissance. The identification of elements of the poetics of the grotesque in the text of the novella is based on the emphasis of this poetics on the shape/surface of the phenomena of the life world, especially the human body. Therefore, the starting point of the interpretation of the novella as outlined here is description as the basic stylistic procedure of realistic texts -- the description of the character in this case. The description and subsequent interpretation of the image of the grotesque body makes it possible to identify the presence of the poetics of discrete irony as a key strategy of authorial narration in the text of the novella. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria 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 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.)

Introduction “Literature is a mirror of all events, rituals, behaviors, efforts and ideas of a society, which is the current language and identity of a nation, and a society can be identified by examining the content and subject of its literature and understand the events of social behaviors and trace the evolution of social phenomena ” (Ruholami, 2000, p. 9). The relationship between literature and social reality is not one-sided. In other words, literature is not a mirror in which the present of a society or social situation is merely reflected. If that was the case, then there would be no distinction between literary texts and social reports or history books. Literature not only emerges from the heart of social reality, but can also have a negative effect on that reality and help it change. It can be said that the relationship between literature and society is a dialectical one; literature arises from social structures, but at the same time it questions and denies those structures. Methodology With the rise of qualitative method in humanities research in recent decades, this method is mostly used in social sciences and humanities such as anthropology, educational sciences, literary studies, cultural studies and political science and is usually a combined research; that is, from a set of methods, techniques, and tools; it uses personal experience, introspection, biography, narrative, cultural products, and a variety of observational texts, historical texts, interactive, and visual texts, and encompasses a wide range of methods of interpretation and interpretive analysis. In fact, due to Richardson, qualitative research is an attempt to understand a phenomenon from different sides and angles and to engage in a process similar to the crystallization of the phenomenon under study (Raha Doost, 2004, p. 250). Since the field of literary research is wide and many of its problems are rooted in the various sciences, the literary researcher usually prefers to start his research activity with a question instead of hypothesizing and presenting a hypothesis or hypotheses after gathering information. Therefore, the place of hypothesis is floating in the design of literary research. Accordingly, how is the interaction and dialectical relationship between agency and structure in the evolution of Persian poetry and literature through the impact of contemporary Iranian socio-political structure forms the main question of this research. In order to answer to this question, this article according to Pierre Bourdieu's theory believes the prevalence of a realist approach in Persian literature provided a good platform for literary figures to establish such a "relationship" with the people and society by focusing on popular concerns and taking them into account during political events. Discussion Events, customs, behaviors, ideas, and moral and social status are considered as an example of a nation's historical background or in other words, social, cultural, and political developments, can be considered as its spoken language. Many of these events can be found in the boundless sea of ​​literary masterpieces. “The literature of any nation represents the heart and soul of that nation and encompasses one of the political and cultural pillars and civilization of any nation” (Grace, 2002, p. 50). Also, since the language of literature in politics is in fact a transition from internal to external thought in a social system, “a society without poetry becomes dumb, and a society that becomes dumb goes into decline.” (Davari Ardakani, 2009, p. 56) The creation of literary works arises from certain social situations, and therefore literature cannot be properly understood unless its relation to the mentioned situation is first carefully analyzed. Reflecting society situations is known as one of the functions of literature. Poetry, as the most prominent creative product of the language system, inevitably strengthens the social contexts of language and enriches the special social functions of language by adding mental mobility. Poetry that enjoys a prominent social status reorganizes language as the only factor in the relations of existence and, in Heidegger's words, “turns language into the home of existence” (Heidegger, 2002, p. 214). Following the Iranians' familiarity with the concept of "national state", which was first introduced in Europe in the 19th century, the interest in this concept (nation-state) as an ideal in which the state is no longer the power and domination but the representation of the people, in Iranian intellectual circles increased. The political structure was such that up to that time, such a government had not been experienced in Iran and there was no such a thing as nation, but it had to be invented, and this heavy task of innovation could be fulfilled through literature. Although Persian literature, despite having a long history in Iran, addresses abstract issues on the one hand and not addresses the concerns of the people on the other hand, caused its presence felt less in the context of society. But since the literary environment could not escape the influence of the social environment resulting from the constitutional changes, the poems of Iranian poets and writers as a literary asset found a large number of customers and audiences through language expressing the realities of society in the linguistic market by establishing a logical "relationship" with social structure. It was after this reception, the writers of poetry realized the value of their possessions more and better, and according to a mechanical and not merely emotional "relationship", the process of composing poetry to the more hidden layers of society was intensified. Conclusion The result of this research indicates that by adopting a realistic approach leading to the establishment of a "relationship" between writers and poets (agency) and the text of society and the audience of their poems (structure), Iranian poetry came out of the abstract state and instead of covering up and reporting general issues, it showed the realities of the society, the needs and demands of the people, and in return, the people recognized the words of the writers as their loud voice.

This essay examines Jane Austen's occasional but potent attention to singular moments that seem to stand outside of the usual flow of time. Signaled by her use of phrases such as 'the work of a moment' or 'the work of an instant', these momentous moments gain resonance when studied against the backdrop of Austen's nuanced attention to temporal representation in narrative and to the temporal dimensions of human experience. The essay argues that Austen's momentous moments ultimately function as a crucial dimension of what Amit Yahav in Feeling Time designates the 'sensibility chronotope', a perspective that asserts primacy over chronometry and chronology. Attending to these moments in the fiction further enables us to assess Austen's contribution to what would later become a distinctive feature of the nineteenth-century realist novel, the preoccupation with roads not taken and 'lives unled', as Andrew Miller argues in On Not Being Someone Else: Tales of Our Unled Lives. [ABSTRACT FROM AUTHOR]

Copyright of Slavistična Revija is the property of Slavisticno Drustvo Slovenije 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.)

Africa's history and ecology were shaped by colonization. The European invasion of eastern nations had a significant influence on the environment. The technical advancements due to colonization have been both beneficial and detrimental to the colonized countries. The harmful consequences have prompted several researchers and African writers to conduct a critical examination of the interaction between humans and their environment in terms of race, culture, economy, power, and belonging. Ben Okri is an internationally acclaimed poet, writer, artist, and public speaker. In his trilogies The Famished Road, Songs of Enchantment, and Infinite Riches Okri has depicted the repercussions of colonization and the process of decolonization on the individual and the environment in order to understand the African reality. This paper highlights the interconnection of nature and culture which is considered as one of the main tenets of African culture and tradition. Okri employs magical realism as a literary method to emphasize the interplay between the human and natural worlds. Okri has included vivid imagery of verdant forest that has been deforested and wounded. According to the Yoruba mythology, the forest is frequently associated with magic and the supernatural world, in keeping with West African customs. Therefore, the exploitation of the natural world has led to the abandonment of traditional values which is well depicted. Further, the paper attempts to examine the effect of colonialism in eroding the spirit world and the physical world in terms of social structure and the degrading culture and its relationship with the environment. [ABSTRACT FROM AUTHOR]

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]

Insurgency, kidnap for ransom, banditry, herdsmen-farmers clash, and gruesome killing of individuals have become quotidian security realities in contemporary Nigeria. Scholarly approach to this concern has often resulted in criticism domiciled only at leadership while neglecting the role of the followership in this security predicament. This paper is therefore designed to examine the representations of the complicity of the people in insecurity using Femi Osofisan's Aringindin and the Nightwatchmen (2002)1 as a case study. The investigation combines a deliberate look at the dramaturgical devices employed by Osofisan to enhance this representation. Georg Lukacs's theory of literary realism and Achille Mbembe's model of the Postcolonial theory are adopted as the framework for the study to unravel the complicity of the people. At the same time, the method applied is the interpretive design and the socio-artistic approach to literary criticism. Osofisan deploys dramatic metaphor, aesthetics of masking, Orunmila motif, and Satire to unmask the villains who mystify efforts to address insecurity and throw the state in a nightmare. The revelations are incredible even as vigilantism is deconstructed. The play points attention to the need to carefully examine proposals on ending insecurity in Nigeria while also contributing to emerging scholarship on investigating the followers with regards to their contribution to their disillusionment. [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]

In his essay, Moraru contends that Mihai Iovănel’s 2021 History of Contemporary Romanian Literature: 1990-2020 is a breakthrough in Romanian literary historiography and criticism overall. According to Moraru, the History revisits radically the terms of the Romantic contract that, in Romania and elsewhere, has typically been underwriting modern criticism. A form of critical realism and an exemplar of postmillennial Romanian literary and cultural studies, Iovănel’s book is, in Moraru’s view, not only provocative but also effectively transformative. To gauge the scope and nature of the changes advocated and enacted in the History, this article examines how Iovănel has put together what he calls the “system” of contemporary Romanian literature. Thus, Moraru is less concerned with which writers are included in the book and which are left out, seeking, instead, answers to a series of questions concerning primarily Iovănel’s cultural-materialist and transnational studies-informed methodology. Along the same theoretical, historical, and political lines, Moraru discusses the project’s makeup as well as the strength of the case the History makes for the need to have another look at a range of pre- and post-1990 literary movements, directions, styles, and authors, principally at postmodernism and its competition and successors in the twenty-first century. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta 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.)

Putu Shanty was one of Bali's leading intellectuals in the middle of the twentieth century, but he has been effaced from official publications identifying cultural leaders of the island. His short stories, written in a social realist style, were intended as interventions that would influence the course of history but are also a valuable record of historical discourse. 'Anti-feudalism' was a central discursive concern of Shanty's, and while it was shared on a national level with other political leaders and writings, its implications on Bali were highly specific, involving local social contestation and attempts to redefine religion. The role of intellectuals such as Shanty demonstrates that there are significant differences between discourses of the 1950s and the early-twenty-first-century constitution of 'tradition'. [ABSTRACT FROM AUTHOR]

Copyright of Odisea is the property of Revista Odisea 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 study aims to approach the idyllic within the context of realistic representation not as a category represented by strictly specified group of idyllic means of expression but rather a stylistic layer in which variability of expression plays a major role. The study focuses on particular examples of authorial metalepsis and intrusions of extradiegetic narrator which undermines mimetic illusion of realistic narrative and, as a result, the inventedness of the story and the idyllic nature of the narrative are foregrounded. Several examples extracted from various genres (a travelogue, a short story, a sketch) and authors (G. K. Zechenter-Laskomerský, M. Kukučín and S. H. Vajanský) of Slovak literary realism are given to demonstrate the shifts from the realistic to the idyllic caused by the metaleptic quality of narrative embedding. The communicative value and the effect of the idyllic is determined by the technique how the narrative is integrated into the context of complex literary expression. The change of functional perspective from the realistic to the idyllic in the fiction concerned is signalled by the symptom of anachronism considered illegitimate in temporal and causal system of realistic depiction. The symptom challenges its epistemological and educational function and in the study it is evaluated as the expression of desire for transgression of relations of successiveness and equivalence, logic and causality of objective, external necessity typical of literary techniques of the period.

The article explores dwarfs as representation of the elements of grotesque realism in George R.R. Martin's "A Song of Ice and Fire." Topics discussed are aspects of violence or degradation as preconditions for recovery and healing, apex of Targaryen power and artificiality of hierarchies, instances of Clutean thinning such as Rhaenyra's capture of the King's Landing, and pattern of death and rebirth implied by Bakhtinian grotesquery.

Copyright of Synergies Mexique is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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.)

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]

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 paper probes into the inner recess of an individual who is forced to become a murderer by chance. The protagonist Raskolnikov is tormented by his deed and guilt bursts like a volcano. When he confesses his crime, he gains a new life. The descriptions of inner emotions are psychologically realistic and true. The guilt-ridden mind of the criminal, experiences mental torture. This deed drags him to the edge of madness. His tormented inner conscience forces him to confess his crime. Sonya appears as an angel in his life and offers him the cross. This provides him the strength to confess his crime and leads him to redemption. He becomes a new man with budding hopes and moves from one world to another. [ABSTRACT FROM AUTHOR]

This paper is an appraisal of how Bernard Shaw, as an intellectualist, being religious in the board sense, formulated a personal philosophy of creative evolution based on secular theories and how Shaw focused on social, democratic and personal problems in his early plays and later he introduced themes such as religion, youth and age, labour and capital, etc. After a deep analysis of all his plays, this paper explains or depicts how Shaw was a practical mystic who saw no remedy in economic socialism or anything else other than developing ones spiritual life. [ABSTRACT FROM AUTHOR]

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.)

I discuss the characters Don Quixote and Sancho Panza and their relationship in order to understand better the place of idealistic theory and realistic practice in business ethics. The realism of Sancho Panza is required to make the idealism of Don Quixote effective. Indeed, the interaction and development of these characters can serve as a model for both the effective communication between and blending of the idealistic moral theoretician and the practical businessperson. Specifically, I argue that a quixotified Sancho Panza, as a combination of theoretical idealism and practical realism, is necessary for managerial statesmanship. I first consider the position that this concept is unrealistic, in the final section, however, I show that a number of leadership and business theorists believe that managerial statesmanship requires a quixotified Sancho Panza. I also consider the question, what helps to make a quixotic vision for business ethical, and what is its content? [ABSTRACT FROM AUTHOR]

Se rebaten dos tipos de críticas sobre Cuentos de barro (1933), de Salarrué: se cuestionan interpretaciones que identifican a los personajes con los indígenas y los negros reales de El Salvador en las décadas de 1920 y 1930; por otra parte, se disputan las críticas académicas que, a pesar de reconocer el ingrediente inventivo en las representaciones de los personajes, califican la ficción de un acto engañoso. Con el análisis de «El negro», con atención en el discurso metafórico, el realismo de Salarrué es más complejo que el realismo concebido como una copia fiel del mundo real. The study refutes two types of criticism about Cuentos de barro (1933), by Salarrué. It questions interpretations identifying the characters with real indigenous and black people in El Salvador in the 1920s and 1930s. Moreover, it argues against academic criticism which, in spite of acknowledging the non-realistic traits of the characters, describes the fiction as misleading. Through the analysis of “El negro”, with attention to the metaphoric discourse, Salarrué’s realism is viewed as more complex than realism conceived of as a faithful copy of the real world.

Artistic practice is applied as a tool of experimental research that acquires, as a necessary and decisive component, the identification of the organizational nature of the context on which it acts. The artistic frame allows the exceptional chance of developing experimentation within the spaces of everyday life, acting on its own operational rules. In response to the analysis of the context, an 'organizational analogue' is conceived and presented as a work of art. The 'Analogous' is not a representation or a performance, but rather the assumption, via linguistic mimesis, of a pre-extant object, to the shape of which a change is activated. The product is evaluated on the border of the language through which it interacts, allowing the components of the environment to negotiate its pertinence. An experimental approach based on which within the context one can find a game of which to identify the field, the rules and the players. An organizational artistic practice of playing that has juridical, economic and identity implications. [ABSTRACT FROM AUTHOR]

The study aims to approach the idyllic within the context of realistic representation not as a category represented by strictly specified group of idyllic means of expression but rather a stylistic layer in which variability of expression plays a major role. The study focuses on particular examples of authorial metalepsis and intrusions of extradiegetic narrator which undermines mimetic illusion of realistic narrative and, as a result, the inventedness of the story and the idyllic nature of the narrative are foregrounded. Several examples extracted from various genres (a travelogue, a short story, a sketch) and authors (G. K. Zechenter-Laskomerský, M. Kukučín and S. H. Vajanský) of Slovak literary realism are given to demonstrate the shifts from the realistic to the idyllic caused by the metaleptic quality of narrative embedding. The communicative value and the effect of the idyllic is determined by the technique how the narrative is integrated into the context of complex literary expression. The change of functional perspective from the realistic to the idyllic in the fiction concerned is signalled by the symptom of anachronism considered illegitimate in temporal and causal system of realistic depiction. The symptom challenges its epistemological and educational function and in the study it is evaluated as the expression of desire for transgression of relations of successiveness and equivalence, logic and causality of objective, external necessity typical of literary techniques of the period. [ABSTRACT FROM AUTHOR]

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]