Search

Copyright of Revista Canaria de Estudios Ingleses is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O gênero romance de sensação – sensation novel – emergiu na década de 1860, na Inglaterra, com a publicação de três romances: The Woman in White, de Wilkie Collins, publicado entre 1859 e 1860; East Lynne, de Ellen Wood, publicado entre 1861 e 1861 e Lady Audley’s Secret, de Mary Elizabeth Braddon, publicado entre 1860 e 1862. Braddon ficou conhecida como uma das principais autoras de sensation novels, gênero que incorporou às narrativas ficcionais vitorianas temas até então incomuns, tais como assassinatos e relações de bigamia. Neste artigo analisaremos um conto de Mary Elizabeth Braddon que tem como característica marcante o terror, resultado de um período histórico em que o gótico, o mórbido e o culto às sensações retornam à cena cultural no século XIX. A ideia do terrível, uma das principais fontes para o sublime conforme o filósofo Edmund Burke, está presente no conto “A sombra da morte” conforme se pretende demonstrar.

En el presente trabajo analizamos la novela Un verdor terrible (2020) de Benjamín Labatut como un texto que dialoga con las representaciones en torno al Antropoceno. A partir de este contexto planetario comprendemos la monstruosidad de los científicos y de la ciencia en términos de literatura gótica. La ruptura de los marcos de representación provoca la emergencia de la monstruosidad de la ciencia. Dicha ruptura tiene similitudes con la estética anamórfica descrita por el psicoanálisis, la cual se caracteriza por la aniquilación del sujeto de la representación. Estos dos hilos, Antropoceno y goticidad, los tejemos para señalar la intrusión e insurgencia de Gaia dentro de la novela como factor desestabilizador de los afectos.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este trabalho apresenta algumas considerações sobre o filme Garota sombria caminha pela noite (Ana Lily Amirpour, 2014), baseadas nos conceitos de transposição midiática (Rajewsky, 2012), modernidade e fantasmagoria (Benjamin, 2006) e Gótico (Botting, 2014). As múltiplas referências que se entrecruzam no filme parecem encenar não apenas a justaposição de culturas e mídias, mas também as próprias contingências da modernidade.

The aim of this research is to trace the evolutionary convergence of sacred and civil architectural language between the Middle Ages and the Modern Age in the Kingdom of Naples, with reference to Catalonia. After a careful analysis of historiography, we observe the characteristics of the Catalan building tradition, which shows a strong attachment to the medie-val tradition even in the modern age, as it happens in the Kingdom of Na-ples. The architecture that some historians refer to as Catalan Gothic is far removed from French Gothic, both in constructive logic and meaning: in sacred architecture, a unique spatiality prevails, a legacy of the Roman con-structive tradition, filtered through Cistercian and Mendicant architecture. The complex and cultured language of southern architecture of the 15th century also inherits and reworks constructive elements of Frederician ar-chitecture, with the geometric simplicity of the building layout, the strong weight of the wall mass with flat surfaces in which decorative elements are inserted to emphasize the architectural design. In some cases, medieval tradition and the new language of the Renaissance coexist. In Naples, the most important commissioner was Sancha of Majorca, who married Robert the Wise in her second marriage in 1309 and who built the monastery and church of Santa Chiara. Angevin culture prevailed in the years between 1400 and 1442, albeit in the particular durazzesque sense, as evidenced by the church of S. Marta erected in 1400 by Charles III's widow, Margaret of Anjou Durazzo to celebrate her son Ladislaus' reconquest of the Kingdom. The chronological scope has been defined by adopting as a post quem term the 1400s, the year in which Ladislaus of Durazzo ascended the throne of Naples, and as ante quem the 1503s, the year in which the Spanish general Consalvo de Cordova defeated the French and the Kingdom of Naples became part of the Viceroyalty of Spain. Catalan architecture is not consi-dered as the last expression of Gothic culture, but as a peculiar anticlassical form of the Mediterranean Renaissance, due to its programmatic rejection of architectural order and the creation of a clearly recognizable code-style, adopted by the local barons as an expression of belonging to the ruling class and loyalty to the established power.

Se estudian varias piezas marcadas por plateros de Talavera de la Reina. Destacan la gran cruz procesional y el cáliz de Castañar de Ibor, obras gótico-renacentistas inéditas del notable platero Juan de Ledesma. Es importante el cáliz manierista de Villar del Pedroso, con marca de Juan Váez hasta ahora inédita. Blas Carrasco labró en 1674 la custodia purista de Cabezuela del Valle: tiene su marca, inédita. Complementan el trabajo otras obras de los siglos XVII XVIII: destacan las fabricadas por Juan Domínguez para Losar de la Vera y Serradilla y la de José Sánchez Crespo para Peraleda de la Mata.

Copyright of Journal of Artistic Creation & Literary Research is the property of Departamento de Estudios Ingleses, Facultad de Filologia, 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.)

Este artículo analiza la novela Radiana (2003) de Esther Cross como una reescritura de Frankenstein. A partir de la perspectiva psicoanalítica y de la ideología estética del surrealismo se examinarán los vínculos entre el fantástico clásico y el fantástico moderno estableciendo las estrategias narrativas capaces de abrir nuevos sentidos y funciones dentro del género.

Este trabajo busca demostrar la importancia del concepto del gótico en la lectura de la antología La Venganza del Cóndor de Ventura García Calderón y, en particular de su relato homónimo. Esta propuesta, ya adelantada por Alberto Portugal, es controversial dentro del canon literario peruano donde el indigenismo está emparentado al realismo. En el texto se contextualiza la obra de García Calderón, se la asocia a lecturas contemporáneas del gótico y, finalmente, se realiza un close reading del relato homónimo en clave gótica que desnuda el trasfondo estético/ideológico del texto.

Precisamos algunos datos y aportamos noticias sobre la actividad patrimonial de los Velasco en Burgos y en La Rioja occidental. Identificamos a los enterrados en el panteón familiar de Medina de Pomar y precisamos las reformas que se hicieron en el monasterio de Santa Clara. Se revisa la acción de los Condestables en la capilla de la catedral de Burgos y se aportan noticias sobre el monasterio de Briviesca, que pasó de Juan Gil de Hontañón a Juan de Rasines en 1523. Comentamos los datos sobre la estancia de Simón de Colonia en Haro y sobre la construcción de un nuevo monasterio en Ajubarte.

Copyright of Archivo Ibero-Americano is the property of Editorial Cisneros 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.)

Las lenguas indoeuropeas tienen un prefijo que deriva adjetivos negativos a partir de sustantivos y adjetivos positivos. Algunas lenguas antiguas también presentan este mismo prefijo negando a los participios de presente. Son los llamados «participios negados». Aunque habían sido identificados en algunas lenguas, no ha habido un estudio sistemático hasta los trabajos de Lowe, quien analizó estos participios morfológica, sintáctica y semánticamente en el Ṛgveda y otras lenguas indoeuropeas antiguas. A partir de esos trabajos, analizaremos este tipo de participios en gótico, dado que no fue una de las lenguas que estudió Lowe y presenta útiles datos que confirman y matizan las conclusiones a las que llegó este autor.

In this essay, I analyse two episodes from the recent television series, Philip K. Dick’s Electric Dreams. I contend that, by adapting Philip K. Dick’s short stories from the 1950s for the screen, the creators of “Impossible Planet” and “The Commuter” offer an important new perspective from which to appreciate the value of his early fiction, which is too often dismissed by critics as juvenilia. Moreover, by re-visioning Dick’s work as posthuman Gothic narratives, the episodes refract long-standing Gothic anxieties about alterity and (post)human existence through a lens that is more often associated with science fiction. This hybridization is instrumental to Philip K. Dick’s Electric Dreams’ interrogation of the paradigmatic binaries between life/death, interiority/exteriority and reality/virtuality. In my analysis, I use Rosi Braidotti’s theory of posthuman death, as well as Roger Luckhurst’s concept of Weird zones, to illuminate how Electric Dreams explores some of the existential issues that arise from human-technological imbrication. [ABSTRACT FROM AUTHOR]

A partir de trabalhos críticos como os de Steven Bruhm (2006) e Robin Wood (2020), este artigo reflete sobre as relações entre a infância e o cri­me em obras novecentistas tributárias das poéticas negativas. Partimos da hipótese de que há dois modos de narração preponderantes: (i) narrado­res denunciadores, que evidenciam a monstruosidade infantil como uma consequência de problemas sociais; e (ii) narradores impassíveis, que, ao não oferecerem justificativas explícitas para a criminalidade infantil, ten­dem a apresentá-la como inata. Para ilustrarmos essas premissas, toma­mos o romance Capitães da Areia (1937), de Jorge Amado, e o conto “A Casa do Girassol Vermelho” (1947), de Murilo Rubião.

Por muito tempo, perpetuou-se a ideia de que o Brasil não foi um terreno fértil para o florescimento de uma literatura policial. Nas últimas déca­das, pesquisas como as de Sandra Reimão, Ana Gomes Porto e Pedro Sasse vêm mudando essa visão, revelando uma forte relação do Brasil com as histórias de crime. O presente artigo alinha-se a esses esforços ao tomar a produção de narrativas criminais publicadas entre 1933 e 1937 na revista O Malho, destacando quatro tendências do gênero no país: os contos maca­bros herdeiros do Gótico; as histórias trágicas dos romances de sensação; os enigmas do molde detetivesco tradicional; e as narrativas regionalistas.

The aim of this paper is to analyze La luz argentina (1983), by César Aira, based on the verification that it constitutes the first urban-themed piece in the writer’s work. Our hypothesis is that the prolific series that makes up the urban cycle in Aira’s work, identified almost exclusively with the Flores cycle, is actually inaugurated with this novel. Although La luz argentina tells a story of interiors in which the city appears mostly indirectly, the characters’ refuge of intimacy does not constitute a hermetic and impermeable space but, on the contrary, is haunted by the outside. Thus, the city imposes its ghostly presence even in domestic life and not only through the nocturnal excursions of the characters.

Il saggio colloca il film 18 regali di Francesco Amato all’interno della tradizione del fantastico. Particolare rilievo è dato allo studio della relazione fra individuo e scienza, agli oggetti mediatori e alla rappresentazione del corpo umano. L’autore propone l’interpretazione del film come una galleria di immagini che ricevono l’eredità dei topoi tipici del fantastico cinematografico e letterario.

The imago of Justice has attracted attention since ancient times and, in the most recent period, the approaches to the subject have multiplied. The question that arises here is not about the image of Virtue itself, although it is valued and taken into account, to point out its unity without forgetting the fickle aspects of its alleged monolithic configuration, capable of generating important changes in its iconic appearance. The study concentrates on the revision of its absences in medieval Catalan art. To describe and analyse these hollow spaces that make us think of a denial of Justice -understood in its feminine personification- I examine their repeated or sporadic presence in different places of Europe while approaching those that were their alternatives in Catalan religious and civil contexts. This cessation in its functions should not have been conditioned only by a lack of knowledge and, in any case, could be the result of a disjunctive graphic thinking that prioritizes other issues and motives when it comes to representing the idea of judgment or justice. [ABSTRACT FROM AUTHOR]

Copyright of Quintana: Revista do Departamento de Historia da Arte USC is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos 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 Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Santander. Estudios de Patrimonio is the property of Santander Estudios de Patrimonio 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.)

La animación 2D es un terreno fascinante que muestra mundos increíblemente creativos y envuelve una amplia gama de campos profesionales. La arquitectura juega un papel destacado en animación, dando cabida a narrativas mediante todo tipo de complejas edificaciones fantásticas. A pesar de ser un tema relevante, la mayoría de publicaciones editoriales sobre animación tienden a recopilar el arte de las producciones, sin ahondar adecuadamente en el rico trasfondo que existe detrás de estos diseños arquitectónicos. Este artículo busca acercarse a un modelo específico de arquitectura creado por Walt Disney: el castillo encantado. Este tema es una constante en muchas de sus producciones más clásicas, entre las que destacan Blancanieves (Snow White and the Seven Dwarfs, David Hand, 1938), La Cenicienta (Cinderella, Clyde Geronimi, 1950) y La Bella Durmiente (Sleeping Beauty, Clyde Geronimi, 1959), siendo esta última pieza, por su calidad exquisita, el centro del presente análisis.

Johann Wolfgang von Goethe tiene una vasta producción literaria, en la cual se encuentran tres artículos dedicados a la Arquitectura, objetos del presente ensayo: el primero elabora un discurso poético sobre la Catedral de Estrasburgo, el segundo aborda objetos de la Antigüedad clásica y el último se refiere a otra catedral gótica, situada en la ciudad de Colonia. Desde una perspectiva historiográfica y filosófica, este artículo propone comprender el significado de la Arquitectura en los tres textos goethianos en específico circunscribiéndolos, en un sentido más amplio, a la obra literaria del poeta alemán. Además, busca entender la idea de estilo gótico y otras categorías —como naturaleza, ficción y ruina— en el debate europeo a mediados del siglo XVIII.

This paper seeks to connect the concepts of “terror” and “horror” proposed by Gothic novelist Ann Radcliffe to films by Brazilian directors Walter Hugo Khouri and José Mojica Marins. It will be discussed here how such concepts manifest themselves in the national context and in which senses, trapped somewhere between repetition and difference, Khouri and Mojica’s films can be deemed expressions of a Brazilian Gothic. Stemming from elements derived from Anglo-American criticism, but, highlighting the different meanings that these elements gain in Brazil. To interpret Brazilian films in the light of the Gothic means addressing the issue of “construction of meaning” in national history, as the Gothic has the potential to revive old traumas and generate discussions about specific social contexts.

La imago de la Justicia ha llamado la atención desde antiguo y, en tiempos recientes, las aproximaciones al tema se han multiplicado. La cuestión que se plantea aquí no versa sobre la imagen de la Virtud en sí misma. Esta será valorada y tenida en cuenta para señalar su unidad sin olvidar los aspectos volubles de su presunta configuración monolítica, capaces de generar cambios notorios en su apariencia icónica. Este estudio se concentra en la revisión de sus ausencias en el arte catalán medieval. Con el fin de describir y analizar estos espacios hueros, que nos hacen pensar en una negación de la Justicia –osea de su personificación femenina–, examino su presencia reiterada, o esporádica, en distintos lugares de Europa, al tiempo que me aproximo a las que fueron sus alternativas en contextos religiosos y civiles catalanes. Este cesar en sus funciones no debió ser condicionado tan solo por un desconocimiento y, en todo caso, pudo ser fruto de un pensamiento gráfico disyuntivo que prioriza otros temas y motivos cuando se trata de representar las ideas de juicio o de justicia.

The silverware of the Middle Ages has served as a reference for the creations of later centuries. Some aspects of it, from its typologies and its structure, remained in force for some time in the Renaissance, and even its conceptions or appearances were also recovered in the Baroque. With the historicisms of the 19th century and part of the 20th, neo-Gothic achieves particular prominence, which can represent a faithful inspiration in the historical style. [ABSTRACT FROM AUTHOR]

Se presentan dos cruces góticas casi inéditas que se habían considerado del final de la Edad Media. A partir del estudio comparado y de la lectura de la inscripción de una de ellas, se propone al autor, Augerius, y al comitente, fray Martín de Maluenda, abad del monasterio de Piedra, abad con intervalos de 1284 a 1313. Recubiertas de filigrana, fueron originalmente cruces anicónicas vinculadas a la tradición hispana. De virtuosísima elaboración, estas cruces, casi desconocidas, tienen una importancia trascendental para el estudio de la platería española y europea.

Abordamos el estudio de seis cálices y cuatro cruces procesionales localizadas en la diócesis de Sigüenza-Guadalajara. Estas obras fueron realizadas por plateros burgaleses en los siglos XV y XVI. Destacamos el cáliz de Carabias, de principios del siglo XV y, sobre todo, la cruz procesional de Uceda, obra de Bartolomé o Pedro de Abanza, realizada entre 1505 y 1514, que se encuentran entre las piezas de plata más antiguas conservadas.

The Indo-European languages have a prefix that derives negative adjectives from nouns and positive adjectives. Some ancient languages have this same prefix negating the Present Participles. They are the so-called «negated participles». Although they were identified in some languages, they did not study systematically until the Lowe’s works, who analyzed these participles morphologically, syntactically, and semantically in the Ṛgveda and other ancient Indo-European languages. As a result of these works, we analyze this type of participles in Gothic, since it was not one of languages studied by Lowe and it has relevant data that confirms and qualifies the conclusions extracted by this author. [ABSTRACT FROM AUTHOR]

The narrative of Beatriz Ardesi offers innovative features that stand out. In his second collection of stories, Three Demons [2021], she explores new possibilities of realism from a mythical, archetypal background, achieving a grotesque effect of reality, exploring its apparently more dayly aspects, but with great symbolic depth. Thus, common stories become metaphysical allegories: the first micro-story, which gives the volume its title, fully installs us in the dystopian atmosphere that permeates most of the texts. The complicity with the reader is achieved through the deceptive song of sirens that weaves a verbal first person (protagonist or witness) that traps us with the pretended innocence of a conscience incapable of discerning truth and lies, reality and fiction. The analysis will address the narrative procedures by which Ardesi's text manages to immerse the reader in an ominous environment: at first, the narrative voice, responsible for the horror effect it produces, but without neglecting other essential components: the terrifying space, a true "touchstone" of the Gothic mode, considered not as simple topos but as an active agent in the development of the plots. [ABSTRACT FROM AUTHOR]

Ao indagar a complexa relação estética que se tece entre a poética do gótico e a poética do surrealismo, assegurada pelas experiências da crise do mito, do informe, e em consequência, do terror e do horror, neste artigo, proponho a leitura de alguns poemas que encenam essa difícil articulação. Paul Éluard, Julia Hartwig e Anne Sexton buscam, com efeito, os procedimentos aptos à encenação do doloroso desamparo subjetivo, que diz respeito, também, à questão dos limites do gênero. O regime da negatividade característico da poética gótica leva à recusa da busca por novos mitos e por novas imagens da criatividade feminina, típica do romantismo. Ao valorizar a representação do espaço, o gótico preparou o caminho da crítica, poética e feminista, dos discursos da psicanálise e da fenomenologia.

O presente artigo busca analisar os elementos góticos dos contos “Céu escuro” (1940) – e de suas narrativas relacionadas, a saber: “Um capítulo de romance” (1940) e “História de Cristiana” (2) (1944) –, do escritor brasileiro Lúcio Cardoso, e “Uma rosa para Emily” (1930), do escritor norte-americano William Faulkner. A hipótese de trabalho é a de que as realizações do Gótico de ambos os escritores, a despeito de suas diferentes nacionalidades, possuem diversas semelhanças, a saber: as casas retratadas como loci horribiles e a tematização de terrores familiares e de uma aristocracia rural decadente, apenas para citar alguns. Busca-se, assim, comprovar que o Gótico é uma poética consistente e com elementos narrativos identificáveis. Como fundamentação teórica, serão utilizados os trabalhos de Júlio França (2020), Fred Botting (2014) e Catherine Spooner (2007), entre outros.

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas 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 Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa 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.)

Vierges à l’enfant des Pyrénées-Orientales. 1200-1400. Étude technique et stylistique Corinne Van Hauwermeiren Coedición: Conservart y la Universidad de Namur (Bélgica) ISBN: 978-2-930022-08-6 Páginas: 280 Ilustraciones: color Publicado: septiembre 2021 Web : vierges à l’enfant – vierges à l’enfant (viergesalenfant.com)

Este artículo cuestiona la posible presencia del folclore local en una época de folclore globalizado. A partir de las categorías críticas aportadas por los estudios góticos y los recientes debates sobre el folk horror, este artículo estudia el uso de los creepypasta (relatos de terror producidos y difundidos en internet que constituyen un ejemplo de folclore digital) en la novela Mandíbula (2018) de Mónica Ojeda. Al analizar la novela de Ojeda, pretendo demostrar cómo la adopción masiva de referencias folclóricas digitales sirve para desafiar las ansias de globalización y la desterritorialización que alimentan el texto e impregnan su narración de la adolescencia.

Los procesos constructivos que permitían levantar los atrevidos organismos góticos aún son poco conocidos, especialmente en arquitecturas modestas como la parroquial de repoblación, frecuentemente indocumentadas. Con menos recursos que las grandes fábricas, sus soluciones técnicas y estrategia de erección atenderían a una optimización de medios y costes, cuestión ésta a menudo obviada. Esta problemática ha sido abordada en el conjunto parroquial cordobés, homogéneo y erigido en los siglos XIII-XIV, y cuyas características y soluciones son evidentes por la desnudez de sus fábricas. Esto ha permitido el análisis conjunto de sus procesos constructivos, así como los de trazado y replanteo a ellos asociados, evidenciando asentados principios de actuación, eficaces y posiblemente reconocibles en otros edificios coetáneos. Entre ellos la priorización de los modos de construcción “en vertical”, muy relacionados con la autonomía de las distintas zonas y unidades constructivas, trasluciéndose un acertado conocimiento, intuitivo al menos, de cómo funcionaba el edificio.

2D animation is a fascinating discipline that shows incredible worlds of pure creativeness, and which involves a wide range of professional fields. Architecture plays a prominent role in Animation, facilitating the immersive narrative environment through all kinds of fantastic buildings. Despite being a subject of deep relevance, most editorial publications on animation tend to collect the art of productions, without properly delving into the rich background that usually exists behind those amazing architectural designs. This article seeks to approach a specific model of architecture created by Walt Disney: the enchanted castle. This theme is a constant in many of his most classic productions, among which Snow White (David Hand, 1938), Cinderella (Clyde Geronimi, 1950) and Sleeping Beauty (Clyde Geronimi, 1959) stand out. Due to its exquisite quality, both technically and artistically, the latter will be the focus of this analysis. [ABSTRACT FROM AUTHOR]

The article examines the novel A Rainha do Ignoto (1899), by Emília Freitas, demonstrating the formal innovations of the text, built on the basis of fantastic and Gothic literature. We seek to understand how these literary traditions helped to build a plot that critically contrasts two planes, one real and one utopian, which establish a subversive reference to the turbulent Brazilian political environment of the time. Furthermore, the gender constructions of the main characters of the novel are discussed, bearing in mind the particular appropriation that Freitas makes of the Gothic form to narrate the relationship between fear and sexual gender. [ABSTRACT FROM AUTHOR]

Copyright of APUNTES - Journal of Cultural Heritage Studies is the property of Pontificia Universidad Javeriana 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 Revista Austral de Ciencias Sociales is the property of Facultad de Filosofia y Humanidades, Intituto de Ciencias Sociales, Universidad Austral de Chile 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 Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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 Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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.)