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O presente artigo pretende colocar em diálogo a ideia de tempo e alegoria em Walter Benjamin como instrumentos de análise de fotografias de paisagens do Centro de Florianópolis, Santa Catarina, Brasil. Nas teses sobre o conceito de história, Benjamin (1987) afirma que a verdadeira imagem do passado perpassa veloz pelos tempos, pois o passado é fixado como imagem que relampeja irreversivelmente no momento em que é reconhecido. Metodologicamente, optamos por fotografar cenários do centro de Florianópolis, intencionalmente escolhidos para discutir as ideias de Benjamin sobre alegoria, e trazer essas imagens como fios de condução para pensar suas ideias e a história da cidade. Como resultado, identificamos que a arquitetura dos prédios e os monumentos das praças da cidade são constituídos por fragmentos do passado que permanecem até o presente, mas que também observamos essas permanências nas pessoas que circulam e na rotina que ocupa o espaço.

The present work seeks to show that despite the great differences between the Dialectics of the Enlightenment and the Aesthetic Theory, Theodor Adorno's elaborate conception of art in the Aesthetic Theory is indebted to the Dialectics of the Enlightenment, that is, it is carried out based on the assumptions developed in it. For example, one of the fundamental assumptions of Enlightenment Dialectics is that the origin of art was the result of the separation between mimetic praxis, situated in prehistory, and praxis whose central core is lighting as a domain of nature, situated in history. This dichotomy was not abandoned in the Theory of Aesthetics, on the contrary, this work uses this separation to develop its main concepts. [ABSTRACT FROM AUTHOR]

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La presente investigación enfoca la propensión de la crítica literaria venezolana sobre la lectura y estudio de sus novelas contemporáneas, basado en la teoría de Fredric Jameson (1986), sobre las tendencias interpretativas de la narrativa larga en los países del “Tercer Mundo”. Este planteamiento responde a la necesidad de dilucidar la polémica planteada por diversos autores como Doris Sommer (2004), Miguel Gomes (2010), Vicente Lecuna (2012), Cecilia Rodríguez Lehmann (2011) y Pedro Luis Vargas Álvarez (2013), sobre el carácter de las novelas en América Latina; encontrándose un entramado crítico que oscila entre el rechazo a dicha teoría y la aceptación con fines mercantiles por parte de otros.

Artykuł jest opisem mechanizmu w poezji Norwida zapewniającego precyzję i charakter otwarty myśleniu w niej rozwijanemu. Służąca temu celowi, skonstruowana przez poetę, podwójna figura poetycka zostaje zbadana zmodyfikowaną metodą krytyki tematycznej. Pierwszą fazę figury stanowi nowoczesna alegoria umożliwiająca, dzięki swym dwóm metonimicznie połączonym poziomom, skuteczne diagnozowanie zjawisk świata nowoczesnego. Wysiłek myślowo-wyobraźniowy wierszy nie zatrzymuje się jednak w granicach przestrzeni nowoczesnego świata; wypracowują one na bazie alegorii symbol otwierający myślenie poetyckie Norwida na niewyrażalne. Nie jest ono tu jednak ujęte w kształt teologiczny, lecz dane jako fenomen bezpośredniego doświadczenia − epifania.

The present study aims to underline the particularities found in the Banat by means of reinterpreting some of the main creations of Central-European late Baroque, where the illusion of the Habsburg power and allegories of Catholic faith were employed in the unifying artistic discourse. The main methods used range from comparative-historical to iconographic, with a structural-semantic and formal analysis of the works presented as case studies. The epideictic rhetoric of these examples contributes to a better acknowledgement of the role played by art in every society, having in mind that the eighteenth-century artistic phenomenon was synergic with the Central-European evolution and the style was tributary to the late Baroque, one of the many variants with particularities of the so-called "Baroques". [ABSTRACT FROM AUTHOR]

The visuality of Temperance arose in Middle Ages with the predominance of Italian trends. During the 15th and 16th centuries, a new iconographic type for Temperance appeared in the French scope of the "new visuality" providing new attributes. This innovation was the iconic depiction of the features that thinkers attributed to this virtue. The present research is about the appearance, analysis, continuity, and variation of the iconographic type of Temperance in the "new visuality". Thereby, visual innovation is explained from its relation with written sources and the continuity and variation of images. [ABSTRACT FROM AUTHOR]

In 1898, the United States declared war on Spain and "came to the aid" of the Cubans in the liberation struggle they had begun in 1895 against Spain. These events aroused a wide media coverage. Although the differences are evident between the Spanish and American press, both countries pursue the same goal: to offer their vision of the conflict and ratify the hegemonic role they should play in it. Here we are interested in the image of Cuba in the journalistic satires and, in particular, the allegory of Cuba in the Spanish and American press. The intention is to discover the commonality of the forms, but also the symbolic discrepancies, so that the schemes of representation that transcend the immediacy of the political fact also emerge. The objective is, therefore, to deconstruct the visual process of symbolic construction of Cuba, and of the war that took place there, in the press in 1898. [ABSTRACT FROM AUTHOR]

This paper analyzes the figure of the charro singer in the novel El vendedor de silencio by Enrique Serna, which emerges from Mexican cinematography at the beginning of the 20th century. A rhetorical reading of this allegory of the charro as a comic villain, represented in the journalist Carlos Denegri at key moments of the novel, is proposed. To this end, it addresses the intrinsic relationship between a supposed ontology of the Mexican and machismo as a social and political phenomenon, which has as its center of dispute the hierarchical relations of power and presupposes the virile identity of the Mexican man through said cinematographic figure. In the novelist's narrative, humor, achieved through specific modalities such as parody and irony, constitutes a critical instrument to address the themes of violence and otherness. Fiction occurs in the shadow of the truth that is exposed in both the historical and realistic novels, which are usually related to the problem of formal categories that discuss the nomenclature of parody. Regarding the veracity of the historical fact, it would be problematic to treat parody as a stylistic model that serves as a source for the study of history. Thus, Serna elaborates a thematic and textual renovation in a rhetorical operation in which the direct, indirect or omniscient voices of the story, reupdate the stereotype already mentioned in a caricaturization of the Mexican, the power and the degrees of corruption equivalent to the behavior of associated violence, which goes indistinctly from the public to the private sphere. [ABSTRACT FROM AUTHOR]

Literature played a fundamental role in Benjamin's political thought. His concept of experience in modernity could not be understood without the figures of Baudelaire and Proust. But in this paper it is not about observing Benjaminian categories in the literature that talks about migration phenomena, but about retaking the political character of his concept of allegory, of seeing certain literature as an illumination, in a determined temporality, of an instant of danger capable of provoking a productive and memorable detention. The Arrival by Shaun Tan is a fictional story in images that accounts for the migratory flow that does not stop throughout the world and the allegories that are manifested, anchored to precise and temporary stories. Literature, then, establishes a relation with these times: complex and terrible, forming what Walter Benjamin would call a dialectical image. [ABSTRACT FROM AUTHOR]

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Este artigo propõe uma análise comparada entre alguns poemas de Luís Quintais (1968), poeta português que estreou, em 1995, com o livro A im­precisa melancolia, e de Francisco Alvim (1938), poeta brasileiro que pu­blicou seu primeiro livro, Sol dos cegos, em 1968. Pretende-se estudar a interseção entre a expressão alegórica, marcada pela linguagem fragmen­tária e pelo fluxo temporal descontínuo, e o olhar melancólico que traz a dimensão da perda de sentido, ou do tempo morto e irrecuperável, contri­buindo assim com os diálogos literários entre Brasil e Portugal.

El presente artículo da a conocer el comentario al Cantar que fray Luis de León explicó en su cátedra de Biblia el curso 1585-86. Con ese fin repasa, en primer lugar, la relación de fray Luis con dicho texto bíblico, situando así sus lecciones en una línea de evolución. A continuación, estudia el único testimonio conocido de las mismas, el manuscrito conservado en la Angelica de Roma. Y, finalmente, expone los resultados del análisis de su contenido. Este revela, por un lado, lo mucho que depende de estas lecciones la tertia explanatio del comentario latino de fray Luis al Cantar, y subraya el valor de la misma como vehículo de su teoría de la alegoría y su teología de la historia; y señala sumariamente, por otro lado, las discrepancias entre el texto escolar y el publicado, investigando sus posibles razones. El artículo concluye con la publicación del fragmento inédito con que fray Luis expuso los rasgos del prelado ideal que encontró indicados en el texto bíblico.

Maximino aparece en las últimas páginas de la novela ante la basílica de San Pablo Extramuros. Ocupa poco espacio. Quizás por eso casi no ha recibido atención por parte de la crítica. Sin embargo, compone la figura del “rey” en su momento más difícil, el traspaso del poder. Apoyado en el magnífico estudio de Kantorowicz, especialmente en las analogías político-teológicas del rex-sacerdos con el Corpus Christi-Corpus mysticum, mi trabajo hilvana reyes bíblicos e históricos, citados o evocados por la novela, hasta llegar a la concepción de realeza propuesta en las primeras páginas. Así, desde el final hasta el principio, la imagen de Maximino toma “cuerpo” hasta convertirse en figura alegórica. San Pablo está en la raíz poética y teológica de esta historia centrada en el artificio.

O desgarramento da Península Ibérica em relação ao restante da Europa, apresentado pelo escritor português José Saramago no romance A jangada de pedra, pode parecer ao leitor uma história fantástica. Entretanto, sua publicação justamente quando Portugal e Espanha ingressavam na então Comunidade Europeia permite a leitura da obra como alegoria – o que, segundo as teorias de Tzvetan Todorov, eliminaria a classificação de fantástico. Utilizando-se, porém, a lente do neofantástico tal como proposto por Jaime Alazraki, é possível admitir o enquadramento do livro nesse gênero. Com o afastamento temporal de mais de três décadas e a consciência de que nem todos os leitores carregam o conhecimento do contexto em que a obra foi escrita, este artigo propõe que as duas leituras de A jangada de pedra são admissíveis: a (neo)fantástica e a alegórica.

La visualidad de la Templanza surge en el medievo con el predominio de las tendencias italianas. Durante los siglos XV y XVI, surgió un nuevo tipo iconográfico para la Templanza dentro del ámbito francés de la “nueva visualidad”, aportando nuevos atributos. Dicha innovación no es más que la manifestación icónica de las características que los pensadores atribuyen a esta virtud. El presente estudio versa sobre la aparición, análisis, continuidad y variación del tipo iconográfico de la Templanza en la “nueva visualidad”. De este modo, la innovación visual es explicada a partir de su relación con las fuentes escritas y la continuidad y variación de las imágenes.

Na França do século XVII, consolida-se o entendimento de que as “querelas” são o mecanismo privilegiado de instituição da autoridade letrada. Escritos propondo disputas galantes, que enalteciam a violência verbal em contraposição aos horrores da guerra, disseminam-se até fundamentar um gênero discursivo específico. Este artigo se volta para a análise das relações entre autoridade e controvérsia assim fundamentadas a partir do estudo da Nouvelle Allégorique (1658), texto que alegoriza os conflitos letrados de seu tempo com o objetivo principal de arquivar o próprio ato de querelar.

Estudo situado no âmbito da teoria literária, vinculado à literatura de expressão amazônica que objetiva realizar uma análise crítica do livro de poemas Sol de Feira, de Luiz Bacellar, no sentido de investigar como o poeta recria importantes elementos da cultura e do imaginário amazônico. Sol de Feira é um inventivo livro de poesia em que cada poema é dedicado a uma fruta da Amazônia. E cada fruta, por meio do recurso da alegoria, transforma-se em um exemplar expressivo de elementos da cultura e do imaginário de indígenas caboclos e demais amazônidas. A pesquisa apresenta reflexões teóricas sobre a arte literária, explorando a teoria dos bosques da ficção, de Umberto Eco, e o conceito de alegoria. Apresenta também um painel sobre a cultura amazônica. Esse quadro teórico instrumentaliza a imersão nos poemas do Bacellar, com vistas a investigar como o universo amazônico e suas contingências são recriados na obra, por meio da oficina poética.

The 2018 general elections in Costa Rica showed a discursive confrontation that seemed unlikely. During the second round of the elections, where the presidency was disputed, the "Acción Ciudadana" Party (pac) led by Carlos Alvarado and the "Restauración Nacional" (rn) party led by Fabricio Alvarado showed a dialectical discursivity. On the one hand, the social democratic tradition is expected. However, on the other hand, and worryingly, there is a restoration of conservative and religious fundamentalism. From this discursive duality, these messages are comparatively analyzed starting from contrasting assumed and assigned symbols from the discursive strategies of the two political parties in electoral conflict. The central interest of this paper is to show the thrust of the religious allegorical discourse that permeated the presidential campaign. [ABSTRACT FROM AUTHOR]

El objetivo básico de este artículo es incorporar la categoría cuerpo-metaforía en la epistemología endogénica del carnaval, a fin de interpretar el hecho carnavalesco desde un enfoque semiológico alternativo. El acercamiento teórico al objeto de estudio, el cuerpo-actor en el escenario del Carnaval de Negros y Blancos de Pasto, en el sur de Colombia, se hace a través de la epistemología endogénica, vía metodológica adoptada para observar, leer y traducir el lenguaje simbólico de los actores del carnaval que se presentan como cuerpos-metaforías a través de la máscara y el tatuaje en el juego de negritos, en comparsas, murgas, disfraces individuales y jugadores de las carrozas. Los resultados subyacen en descubrir como realidades visibles y plurales cargadas de historias, memorias y símbolos a los múltiples cuerpos-metaforías del Carnaval de Negros y Blancos de Pasto. Se aspira entonces a que la propuesta metodológica aquí desarrollada se pueda aplicar como piloto para el estudio de celebraciones culturales similares.

Os mitos são narrativas partilhadas que remetem a uma memória cultural. A alegoria foi um dos recursos utilizados para validar seus enredos, o que era muito útil no processo educacional e no processo de transmissão de valores que se desejavam hegemônicos. Um escritor pouco conhecido que fez uso dos mitos foi Lucius Annaeus Cornutus, da família do filósofo estoico Séneca. Em seu livro de mitologia Epítome das tradições teológicas dos gregos, Cornuto apresenta uma função propedêutica e pedagógica, na qual busca ensinar ideias estabelecidas entre os estoicos, por meio da mitologia, ligando os mitos e possíveis etimologias das palavras. Tais epítomes eram muito comuns no Império Romano e tinham como função fornecer informações precisas à aristocracia senatorial e equestre, sendo um manual com ideias presentes nos círculos estoicos romanos. O mito de Hermes será analisado, tendo em vista, os valores culturais cultivados para a formação de um cidadão romano piedoso. Trata-se de um campo fértil à análise historiográfica. Cultuado como deus dos mercadores e dos trapaceiros aqui, é a deidade das palavras, que eleva o homem forte a ocupar os espaços dignos na sociedade. A proposta pedagógica desse escritor vincula a compreensão dos mitos com o entendimento filosófico e as antigas narrativas guardadas na memória greco-romana seriam a fonte de conhecimento ideal para a formação do cidadão romano.

La obra de la autora judío-mexicana Angelina Muñiz-Huberman (Francia, 1936) destaca por dos aportes: una de índole temática, la transmisión de la cultura y del pensamiento judíos, y otra de índole formal, la escritura “transgenérica” a través de la fusión de los géneros literarios. ¿Cómo se relacionan entre sí dichos aportes? Una de las obras tempranas de Angelina Muñiz-Huberman, Tierra adentro (1977), parece apuntar a un proceso de refuerzo mutuo en el cual el modo alegórico desempeña un papel fundamental. Tierra adentro (1977), en el nivel literal del texto, narra la trayectoria de un sefardí expulsado de la España del Siglo de Oro a la Tierra Santa y evoca, simultáneamente, en el segundo nivel de lectura, la persecución del pueblo asquenazi en el siglo XX. La alegoría propicia una reflexión ética sobre el carácter repetitivo del mismo patrón de la exclusión de la comunidad judía a través de la historia y simultáneamente estimula la fusión de los géneros literarios tradicionales.

This article seeks to discuss the appearance in three novels by César Aira of certain substances, the ingestion of which in some way modifies the path of the novels' characters, as a figure that establishes the possibility of raising ideas about writing, reading and the imagination. If it was traditionally said that the non-vindicatory novel, which does not propose awareness-raising or some form of learning, was evasive literature, drugs condense that denomination into an absolute meaning and fulfil the role of the escape forward, not to another reality, but in the fold in which the unique reality of the narrative advances. [ABSTRACT FROM AUTHOR]

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El incesto ha sido un tema profundamente debatido en el siglo XIX. Este trabajo analiza la alegoría del incesto en La madre Naturaleza (1887) de Emilia Pardo Bazán como elemento desestabilizador del binarismo naturaleza y cultura. Esta narrativa alegórica se sustenta en la indeterminación de los siguientes pares dicotómicos: naturaleza protectora (madre)/naturaleza enemiga (madrastra): vida (amor)/muerte, animalidad (materialidad)/espíritu (espiritualidad), acto sagrado/acto sexual. Este trabajo demuestra cómo el uso del incesto en su condición alegórica no es algo casual, fruto de una moda, como elemento temático característico de la corriente realista-naturalista de final del siglo XIX. [ABSTRACT FROM AUTHOR]

This text deals with the allegorical and figurative games in the construction of the narrative by Esaú and Jacó, by Machado de Assis. Machado's novel is studied in the light of the concepts of allegory and figure from theorists such as Luiz Costa Lima, Walter Benjamin, Eric Auerbach and João Adolfo Hansen. It is a theoretical-critical reflection on the relationships that are established between the textual fabric and its unfolding in fiction. [ABSTRACT FROM AUTHOR]

The work reconstructs the reception of the thought of Fr. Schlegel in the early work of Paul De Man. Our hypothesis holds that if we analyze the essays produced before the 1980s, it can be appreciated that De Man inscribes the romanticism from some of the critics of romanticism, but, at the same time, it modifies the organic and totalizing image of romanticism that a part of literary criticism held in relation to romantic poetry. To this end, we examine how this reception is presented in two texts previous to 1980: Rhetoric of Temporality and Allegories of Reading. [ABSTRACT FROM AUTHOR]

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The possibility produced by different works of art and their languages embodies dramas of their protagonists, sometimes of humanity, and may lead us on wondering about our condition nowadays. Thus, this study aims at analyzing, based on the painting Resposta de Joaquim José da Silva Xavier (Tiradentes) ao Desembargador Rocha, no ato da comutação de pena aos seus companheiros, depois da missa, of Leopoldino de Faria, on Cecília Meireles poem, Romanceiro da Inconfidência (1953), and in a film about Tiradentes, by Marcelo Gomes (2017), Joaquim’s image. So, painting, poem and cinema were ways of suitable languages and embodiment of a past/present. The philosophical contributions come from the German-Jewish thinker Walter Benjamin (1892-1940). This trial proposition is justified by allowing several artistic manifestations to bring the image of history, saving them in the present, creating a framing in which memory, history, and knowledge are procedural and changeable. Thus, when history is saved, there is a possibility to understand what these masterpieces show without crystallizing truths about Tiradentes as a Myth, pointing out clues to other versions, building a past outside a chronological timeline.

RESUMO O ensaio busca apresentar como as caracterizações da alegoria, em Winckelmann, ultrapassam a mera tentativa de se compreender um modo de figurar, nos moldes de uma iconologia, configurando uma espécie de metodologia geral para a compreensão da História da arte dos antigos e para a própria apreensão do ideal das artes. Tal possibilidade é dada num ambiente de debates artísticos que antecede a distinção canônico-romântica entre símbolo e alegoria.

The present article will analyze the voice of the narrator from the rhizomatic figure (Deleuze and Guattari) to determine its non-place in the construction of narrative scenes in the new performative forms of literary expression. Therefore, this condition will be reviewed from two Benjaminian notions, the allegory and the quotation to determine that the idea of the body is -centrally concentrated in L. Illuminated- a correlation between language and subject: the disappearance of the subject is the disappearance of his / her language, epistemological symmetry that gives rise in Chilean narrative to a performative writing.

Artykuł przedstawia twórczość dominikańskiego kaznodziei Gabriela Zawieszki (? – 1649). Każdy z jego sześciu zbiorów kazań podporządkowany jest tytułowej metaforze, która (mniej lub bardziej) wyznacza kształt inwencyjny i kompozycyjny poszczególnych tomów, pojedynczych kazań i argumentów. Leopolita jako pierwszy polski kaznodzieja tak świadomie i szeroko zastosował koncept w kazaniach i całych zbiorach, łącząc go w wielowymiarowym wykorzystaniem w egzegezie sensu duchowego. Podobny sposób formowania zbiorów kazań spotykamy w Polsce dopiero w drugiej połowie XVII wieku.

O papel do escritor na sociedade e a possível contribuição da literatura para a realidade social e política do Brasil foram preocupações de primeira ordem para Osman Lins. Não apenas em entrevistas e escritos teóricos o escritor externou suas reflexões, mas também as absorveu e incorporou romanescamente. Em Avalovara, obra magna do autor pernambucano, o amplo espectro temático e a liberdade do arrojo criador favoreceram esta absorção. Aqui, a atitude participante se entretece tão intimamente na malha narrativa do romance, que ética e estética se vinculam e consorciam. As formas segundo as quais este consórcio se articula e configura constituem a matéria de investigação do presente estudo. Para levá-lo a cabo, será realizada uma leitura extensa e minuciosa do romance que evidencie uma de suas vertentes fundamentais: escrever durante regimes ditatoriais.

Nossa relação crítica, inicial, com a instalação nos ensina como a alegoria funciona ainda como vetor contemporâneo da significação. Consciente da sobrevivência das categorias tradicionais, intentamos entender o jogo metamórfico das permanências, apostando na força que a arte sempre teve de cruzar o passado e o presente. Contra o dogma que faz do novo o motor da arte, afirmamos que suas finalidades rompem raramente com motivações originárias já presentes, por exemplo, na teoria antiga da arte: “fins” diversos e transtemporais como a manifestação de uma ideia, o devir-vivo da imagem, a glorificação do artista, até o desejo de seu próprio “fim”! Ao mesmo tempo histórico e teórico, o jogo com o “fim” é uma dialética paradoxal de morte e transfiguração. Esses conceitos desafiadores funcionam como tensores produtivos: Alberti, Vasari, De Chirico, Maliévitch, Kosuth, Meireles, Kaprow, Vik Muniz, são algumas das referências que ritmaram trinta anos de pesquisa.

This article contains analyses of the allegorical imagery in four video clips from Dorota Masłowska's 2014 album Społeczeństwo jest niemiłe [Society is not nice], i.e. Żona piłkarza [Footballer's wife], Ryszard [Richard], Prezydent [President] and Tęcza [Rainbow]. Each of them refers to an actual event, situation and character, described by means of stereotype word labels. The characters typify both the behaviour associated with certain social groups as well as some more persistent traits attributed to the Polish nation and Poland in general. The article examines the strategies and devices (parody, pastiche, irony, allusion) used by Dorota Masłowska to embed the intense specificity of her video stories in more general, allegorical narratives. [ABSTRACT FROM AUTHOR]

Este trabajo aborda el análisis del programa iconográfico de los mosaicos que pavimentaban el edificio señorial de la villa de “El Alcaparral” (Casariche, Sevilla), un conjunto de 15 pavimentos descubiertos en las campañas de 1985 y 1986, entre los que, junto al célebre del “Juicio de Paris”, se cuentan un fragmentario mosaico de thiasos marino con nereidas, un mosaico con una representación alegórica y pavimentos de tema geométrico en diferente estado, algunos de los cuales se conservan en la Colección Museográfica del Mosaico Romano de Casariche. A partir de los informes de las campañas arqueológicas, el plano y las fotografías realizadas hace más de 30 años, el análisis del programa sigue el recorrido de las estancias conservadas, desde el ingreso, aportando al estudio de cada mosaico el conocimiento de los paralelos descubiertos en las últimas décadas, con el fin de obtener no sólo una imagen completa del programa musivo sino también del contexto arquitectónico de la villa de “El Alcaparral” y la mentalidad de su dominus.

Em O Alegre Canto da Perdiz (2008), o recurso a imagens míticas para tentar explicar o processo de construção da nação é frequente. Aqui, as representações femininas estereotipadas usadas pela autora deixam evidente a perspectiva necessariamente subjetiva quando se trata da construção da nação moçambicana. Para começar, faremos uma reflexão sobre a construção da nação moçambicana a partir do olhar do colonizador. Em seguida, abordaremos a questão da perpetuação da herança colonialista. Para conduzir a nossa análise, usaremos os conceitos trazidos por Hooks (2015), Macedo e Amaral (2005), Davis (2016), Barbosa e Secco (2014), e Oyewumi (1997). A nossa análise nos permitirá entender como a autora procura desconstruir as imagens tradicionalmente associadas ao processo de construção da identidade nacional apropriando-se da voz do passado colonial, para nos trazer um olhar renovado, usando uma perspectiva feminina e descolonial.

Aunque conocido sobre todo en su faceta política, el limeño Pablo de Olavide publicó también al final de su vida una colección de novelas, las Lecturas útiles y entretenidas. La crítica ha identificado al menos tres de estas como adaptaciones de originales franceses, aunque llenas de modificaciones que implican un destacable esfuerzo creativo. Pero la originalidad del resto de los textos que integran la colección aún no ha sido desmentida. Este trabajo toma por objeto uno de esos títulos, La hermosa malagueña, destacable por la alegoría política que supone, por la reelaboración de la figura del mártir y por renovar el molde de la novela bizantina; la posibilidad de que pueda ser un texto original del limeño supondría también cierto valor añadido. [ABSTRACT FROM AUTHOR]