Search

Juan Tomás Ávila Laurel, en su novela Cuando a Guinea se iba por mar (2019), crea una versión nueva del clásico español, Don Quijote; en lugar de La Mancha durante el siglo XVI, estamos en Guinea Ecuatorial en los años cincuenta, hacia finales del periodo colonial español en ese país. En este ensayo, argumento que el uso de la ironía, las historias intercaladas y el “héroe” tan inepto que hace de protagonista en el libro de Ávila Laurel son ecos directos e intencionados de la obra cervantina, ahora traspasados a una geografía africana y un contexto colonial. Esta reflexión analiza elementos de la obra de Ávila Laurel para concluir que en Cuando a Guinea se iba por mar se lleva a cabo un proceso de apropiación, con fines transgresores, de la novela cervantina. A través de esta apropiación, el autor realiza una inversión del concepto de una literatura canónica en español, que siempre favorece a la literatura peninsular, especialmente del llamado Siglo de Oro. Precisamente este ensayo propone una interpretación nueva del legado de Don Quijote en la literatura hispanoafricana y, de manera más ambiciosa, sugiere la necesidad de enmarcar los estudios cervantinos dentro el campo del Global Hispanophone.

Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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 Slovenská Literatúra: Revue Pre Literárnu Vedu is the property of Institute of Slovak Literature 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.)

Resumen: Los 'Apuntes para una geografía emotiva de España" de Antonio Machado, escritos entre 1912 y 1919, y publicados por primera vez en 1933, constituyen una serie de siete canciones, deficientemente atendida por la crítica. La singularidad de estas composiciones, cuya poética implícita se apoya en la lógica irónica de topónimos, citas y repeticiones paródicas, las condena a una cierta exterioridad respecto del canon machadiano. En este ensayo examino dicha poética implícita (de palabra en el espacio) y concluyo que la ironía lírico-elegíaca de estas reactualizadas canciones de frontera constituye el efecto necesario de la nueva objetividad buscada por Machado. [ABSTRACT FROM AUTHOR]

The figure of Socrates is the most outstanding philosophical mystery in Western philosophy. The assessments of him are many and varied, and scholars do not agree on him either, but his importance as a myth created by Plato in his dialogues is undeniable. In them Socrates embodies philosophy as a way of living and dying, self-examination as the care of the soul, criticism of prejudices and unfounded beliefs and, above all, fidelity to thought, i.e. the idea that a life without thought is not really human. His example is more alive today than ever in a world characterised, among other things, by the will not to think. [ABSTRACT FROM AUTHOR]

Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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 Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

“Thank goodness! in the book I started, there is no Kázmér Rezeda...” A stylistic approach to the translation of Krúdy’s ironic naming Functional cognitive linguistics and cognitive stylistics provide the linguistic background and methodological foundations of this paper. The most significant tenet of cognitive stylistics is the proposition that the formation of linguistic structures does not function merely as stylistic embellishments; instead, style represents an integral aspect of textual meaning. Names created by literary naming can be interpreted and analysed as defining elements of style. Following an introduction to the theory of language and style, the paper examines the fundamental issues of translating literary proper names. The most relevant question is whether it is necessary or possible to translate proper names in literary works. The following section presents an analysis of the significance of naming in Krúdy’s prose, followed by an examination of the main types of Krúdy’s names with ironic stylistic purpose. The third section analyses the German translations of Krúdy’s ironic names. In conclusion, it can be stated that the appropriate reproduction of Krúdy’s ironic names, which reflects the stylistic effect and meaning formation of the source language, is a particularly challenging task for translators. It is not uncommon to observe that connotational meanings and shades of meaning present in source language texts are not fully conveyed in translation. In certain instances, pre-existing linguistic coincidences (e.g., Hungarian Rezeda ‘reseda’ – German Reseda ‘reseda’) can assist in the translation process. In other cases, however, the translator’s professionalism, linguistic sophistication, and creativity are crucial to ensure such names’ accurate and effective translation.

O presente artigo propõe um modelo analítico a partir do qual a ironia pode ser empregada como ferramenta de análise formal da poética dos videogames. No tocante ao conceito de ironia verbal e/ou visual, recorremos ao aporte teórico proporcionado por Ducrot (1987), Brait (2008) e Scott (2004); e às especificidades composicionais dos jogos, exploramos à teoria sobre procedimentalidade elaborada por Bogost (2007, 2008) para propor uma forma de analisar a ironia nos videogames a partir da articulação entre as três linguagens que julgamos mais significativas para sua composição: a verbal, a (audio)visual e a procedimental. Testamos a proposta aplicando-a à análise da ironia no videogame Orgasm simulator (Molleindustria, 2003). Conclui-se que a ironia é construída e marcada pela combinação de sistemas semióticos variados, e que sua linguagem procedimental é capaz de significar ironicamente.

Dopo essere stata un fondamentale pedagogico, al centro di numerosi studi e ricerche, la categoria della cura oggi pare, invece, tornata ad essere quell’invisibile presenza, incapace – secondo l’attuale logica del profitto – di rispondere alle grandi sfide della società. Al contrario, proprio perché la cura in pedagogia è, innanzitutto, cura-della-formazione-umana dell’uomo, il contributo presenta una riflessione sull’attualità della pedagogia della cura, sia sul fronte teoretico che su quello pratico-riflessivo, in particolare rispetto all’agire educativo e didattico. Poiché l’esercizio della cura è connaturato alla pratica sociale, tra le esperienze di cura che sono fondamento della civiltà, vi è il dialogo. Questo si configura come la pratica per eccellenza di cura del sé, dell’altro e del pianeta, contribuendo alla formazione di quell’uomo planetario, capace di stare nello spazio dell’incontro, dove la comunicazione – nella sua forma dialogica, aperta e ironica – ridefinisce la forma mentis del soggetto verso un agire intenzionale, fondamentale alla costruzione di una società più democratica, critica e sostenibile.

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

Este ensayo analiza aspectos de la dilatada labor como periodista, crítico literario, narrador de ficción y, sobre todo, la producción poética del ecuatoriano Alejandro Carrión. Señala que su narrativa, desde muy temprano, evidencia el tono satírico que no abandonaría jamás, tanto como su «vocación festiva de la sedición». Destaca su labor como periodista, principalmente con el seudónimo de Juan sin cielo. Menciona algunos aportes de Carrión en tanto crítico literario, recogidos principalmente en la revista Letras del Ecuador. El hilo conductor del ensayo –a ratos nostálgica semblanza– se nutre de una perspectiva inevitable: ciertos rasgos de su personalidad (su experiencia en «romances y serpientes», la vocación de incisivo y mordaz humorista, su «naturaleza confrontacional» y aguda inteligencia), además de sus dotes de narrador satírico y de poeta.

Em comemoração aos cinquenta anos da Revolução dos Cravos, voltamo-nos a um dos romances de Lídia Jorge (2014) que tematiza e ficcionaliza esse momento histórico: Os memoráveis. Com a proposta de elaboração de uma série documental, Ana Maria Machado, uma jovem portuguesa que vivia em Washington, retorna em 2004 à sua pátria para colher os relatos e as memórias de diversos agentes do 25 de Abril que são selecionados a partir de uma fotografia capturada no restaurante Memories, um ano depois da revolução, em agosto de 1975. O presente artigo realiza uma análise desse romance à luz dos conceitos de paródia e ironia cunhados por Linda Hutcheon (1991; 2000), no intuito de compreender o modo como a ficção de Jorge problematiza diferentes perspectivas sobre o passado e a maneira como a pós-memória (Medeiros, 2020) opera na reivindicação da geração herdeira de Abril.

La figura de Sócrates es el misterio filosófico más destacado de la filosofía occidental. Las valoraciones sobre él son múltiples y diversas, los eruditos tampoco se ponen de acuerdo, pero es innegable su importancia como mito creado por Platón en sus diálogos. En ellos Sócrates encarna la filosofía como modo de vivir y de morir, el examen de uno mismo como cuidado del alma, la crítica de los prejuicios y las creencias infundadas y, sobre todo, la fidelidad al pensamiento, es decir la idea de que una vida sin pensar no es de veras humana. Su ejemplo continúa hoy más vivo que nunca en un mundo que se caracteriza, entre otras cosas, por la voluntad de no pensar.

En este texto el autor pretende reivindicar la poesía de un autor que es totalmente desconocido para las nuevas generaciones, Francisco Torres Dávila. Después de que sus textos aparecieran en varias revistas literarias ecuatorianas y publicara dos libros de poesía, Torres Dávila guardó un total silencio literario; dejó de publicar y desapareció, por voluntad propia, del panorama cultural del país. Hace poco se conoció la noticia de su muerte, de ahí la necesidad de recordar su obra literaria, pues sin duda es una de las voces poéticas más importantes de su generación.

No presente artigo, o interesse é percorrer as referências à épica na prosa machadiana. O ponto de partida é a atuação crítica de Machado de Assis, chamado a debater as tentativas de poesia épica, principalmente nos anos de 1860. A crônica machadiana incorpora as referências épicas, em termos elevados, para ironizar a precariedade do cotidiano fluminense. No romance e no conto, a referência à épica também se apresenta enquanto ironia a personagens e ações rebaixadas. De certo modo, o crítico aprendeu o campo literário e o lugar da poesia épica no Brasil. O ficcionista, por sua vez, fez uma prosa em que o discurso incorpora os autores da tradição, as cenas e as personagens épicas, mas apenas no vocabulário. Esse descompasso entre cenas e discurso narrativo indica a impossibilidade da ação heroica, revelando uma prosa moderna, que rompe com a tradição épica.

Uno de los problemas actuales en el campo de la didáctica está relacionado con los métodos de adquisición a la hora de aprender lenguas extranjeras. La ironía, por su parte, desempeña un papel didáctico en la enseñanza-aprendizaje de unidades fraseológicas (UF) de cara a resaltar el significado y el uso de estas, de forma que resulte atractiva y fácil de recordar para el alumnado. Al inyectar humor e ironía en el aula se crea un ambiente de aprendizaje más relajado y ameno, lo que ayuda al alumnado a retener mejor la información. La presente investigación se enfoca en la importancia de la ironía como estrategia para el estudio de la fraseodidáctica en el aula de español como lengua extranjera (ELE) y se marca como objetivo analizar la percepción de la ironía que entrañan ciertas locuciones verbales (LV) idiomáticas en español por parte del alumnado ruso, así como su correcta interpretación y posibles efectos en el proceso didáctico. De este modo, con el propósito de avalar con mayor rigor las investigaciones existentes acerca del recurso irónico en el aula, surge el objetivo de la investigación, enfocado en conocer y dar cuenta de la relación entre ironía, didáctica y fraseología. Tras analizar el elemento pragmático de la ironía, así como los diversos tipos de esta dentro del universo fraseológico se llega a la conclusión, mediante una prueba tipo test compuesta por locuciones verbales (LV) enmarcadas en contextos irónicos, de que su inclusión en el aula puede resultar fructífera para los estudiantes.

This article explores the complex literary genre of the aphorism, a form that bridges the gap between literature and philosophy. It focuses on the work of Julio Torri, a renowned Mexican writer who masterfully employed humor, irony, and fragmentation to create exceptional texts characterized by their brevity. [ABSTRACT FROM AUTHOR]

La novela Pepita Jiménez plantea una impugnación contra la capacidad del discurso católico para representar la realidad debido a su cualidad explícitamente intertextual, su elusión ascética de la percepción sensorial, sus procedimientos de idealización y ficcionalización y su interpretación de la naturaleza como un libro de signos. Analizo cómo utiliza Valera la ironía, la parodia del misticismo y el romanticismo, la jerarquización y confluencia de voces narrativas y el argumento del consenso, entre otras operaciones retóricas, para presentar su ideología como la única verdad que explica la realidad y asimismo garantiza la continuidad del orden social normativo. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filosofía UCSC is the property of Francisco Novoa-Rojas 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 Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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 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.)

Presentamos críticamente la utopía de Richard Rorty de una sociedad construida sobre los ejes de contingencia, ironía y solidaridad, en la que el lenguaje y la literatura juegan un papel fundamental. Se apunta cómo un dialogo con Vattimo le lleva a descubrir en el cristianismo que la caridad puede reemplazar a la contingencia.

Redoble por Rancas (1970), de Manuel Scorza, es un relato en el cual la versión más confiable del atropello y exterminio de una población corresponde a los muertos. Los hechos violentos ocurridos en el pueblo se pliegan a la concepción circular (conservadora) de la historia, pero la intervención de los personajes, con recursos menguados de carácter fantástico, introduce algunos quiebres en la representación que desbaratan el carácter presuntamente inamovible de la serie. El artículo repone el vínculo de la novela inicial de la pentalogía La guerra silenciosa con el desarrollo del conjunto, evalúa el impacto mariateguiano en la saga y reubica la narración dentro de la literatura latinoamericana del siglo XX.

W artykule omówione zostały pokrótce środki wartościowania zakodowane w języku (słownictwo aksjologiczne) oraz bardziej złożone sposoby wyrażania ocen stosowane w wypowiedziach, a oparte na wykorzystaniu konotacji oraz implikatur konwersacyjnych (porównania, metafory, ironia). Przedmiotem dokładniejszej analizy jest użycie formy wiersza w funkcji wartościującej. Ilustrację łącznego zastosowania różnych środków oceniających, w tym środków wersologicznych, stanowi utwór Juliana Tuwima Ruch. Budowa metryczna tego wiersza – rzadko stosowany w Polsce 4-akcentowiec toniczny – pełni funkcję metafory dźwiękowej, która współtworzy karykaturalny obraz ruchu przechodniów przemieszczających się w pośpiechu i bez wyraźnego celu po ulicach miasta, tak więc rytm toniczny staje się istotnym czynnikiem satyrycznego ujęcia tematu utworu.

Considerando que as comunidades LGBTQIA+ testemunham recorrentes estratégias de deslegitimação quanto ao uso da linguagem não-binária em interações mediadas on-line que afetam não apenas a escrita, por si só, mas também ameaçam a própria existência, visamos analisar de que modo a ironia deslegitima o uso da linguagem não-binária e, portanto, constrói metapragmáticas de violência linguístico-discursiva no X (antigo Twitter). No âmbito teórico, aventamos um debate concernente às ideologias linguísticas, às metapragmáticas, à proxêmica linguístico-discursiva e à impolidez na formulação de um framework para o estudo da violência linguístico-discursiva entre os domínios da Sociolinguística Interacional e da Pragmática, inter-relacionando esse conjunto teórico às discussões na esfera da linguagem não-binária. No âmbito metodológico, apresentamos os procedimentos adotados nesta pesquisa, orientados por um enquadre netnográfico, crítico e, sobretudo, qualitativo, que envolvem a seleção de uma interação: uma thread e os comentários (em reação à thread) que abordam a relação entre a prova de redação do Enem e o emprego da linguagem não-binária. No âmbito analítico, evidenciamos que os/as interagentes usaram a ironia não só para deslegitimar o uso da linguagem não-binária na construção de metapragmáticas de violência linguístico-discursiva (interagentes A, B e E), mas também para legitimar tal uso (interagentes C e D). Reiteramos, por fim, ser primordial o desenvolvimento de uma consciência metapragmática para diagnosticar violências e, assim, referendar escolhas léxico-gramaticais não binárias que se alinham às constituições identitárias de pessoas igualmente não binárias.

Ercilla otorgó un papel relevante a la burla y la ironía en la articulación de La Araucana. Siguiendo la pauta marcada por Ariosto, el humor se convierte en un instrumento tanto estético como ideológico a la hora de presentar su particular discurso épico ante los lectores y, muy especialmente, ante el monarca Felipe II, interlocutor del poeta a lo largo de toda la obra.

This article proposes a study of the ways in which Unamuno conceives the authorship of the nivola and how these are manifested in the different nivolas, particularly in Amor y pedagogía, Niebla, Abel Sánchez and La novela de don Sandalio jugador de ajedrez. As a novelist and theorist of the novel, Unamuno defends shared authorship, which is why, in the nivola, he will employ the necessary narrative strategies to eliminate himself as its author. Among the most recurrent procedures, the fictionalisation of Unamuno by means of three strategies should be highlighted: the use of a fictional entity as the author of the nivola, Unamuno's disidentification by means of, among others, metalepsis, and his discrediting as the author of the nivola within the nivola itself. In parallel, Unamuno, in his ontological dimension, as a philosopher and thinker, fights against the finitude of the human being by means of the procedure we have called Unamuno's "masquerade", which allows him to prevail in his work. This masquerade consists of delegating his discourse to different characters. This process can be carried out in a partial way (which has been described as "simple masquerade") or in a complex way (to which the Unamunian agonists and alter egos correspond). This paper will identify each of the aforementioned strategies in the Unamunian narrative in order to encourage debate on the cohabitation of two a priori opposing ways of understanding authorship. [ABSTRACT FROM AUTHOR]

This paper explores Socratic irony as reflected in the famous passages of Alcibiades' speech in Plato's Symposium, focusing on the relationship between ironic utterance and the philosophic guidance process. Reviewing the diverse meanings of the term eirôneia in Greek comedy and philosophy, it examines the way in which Plato employs irony in fashioning Socrates' figure and depicting the ideal of philosophic guidance as the "art of midwifery." It then analyzes Kierkegaard's most positive perception of Socratic irony as a necessary methodical element in the Socratic maieutic process of "deceiving into the truth." Contrasting Kierkegaard with Alcibiades' scathing critique, it reads the latter in a combined dramatic-philosophical perspective, as presenting irony as an anti-philosophic phenomenon, leading to cognitive puzzlement and Dionysian irrationality. Alcibiades' negative stance will be manifested via analyzing his use of four literary rhetorical devices: comparing Socrates with the Silenoi, drawing an analogy between ironic speech and Marysas' satyric flute playing, symbolizing philosophy as snake venom, and presenting the scene of Socrates' seduction as dramatic irony. The discussion shows, then, that there are two distinct manifestations of Socratic irony drawn from Plato's writings, destructive and constructive, derived from the character of his philosophical pupils. [ABSTRACT FROM AUTHOR]

Alongside the highly mediatized life of recent Italian politics, populism as a mode of social expression has permeated Italian public discourse since the mid-1990s. This trend has become even more apparent in the aftermath of the so-called Mediterranean refugee crisis in the 2010s. Since then, the Italian popular classes' increasing engagement with online social media has contributed to the electoral success of anti-immigration leaders and Facebook celebrities like Lega Nord party secretary Matteo Salvini. Simultaneously, controversial black Italian YouTubers like the artist Bello FiGo have also found commercial success, due to their own populist and ironic engagement with Italian immigration policies. This article explores how ideologically divergent media operators such as Salvini and Bello FiGo co-participate in ironic, future-oriented media performances of anti-refugee discourses that make possible different modes of displaced alterity. As we will demonstrate ethnographically, these performances allow for forms of cultural intimacy between these media operators and their publics by means of populist irony, while engendering opposite (though structurally similar) dynamics of illiberal ventriloquism. In doing so, these controversial, future-oriented performances tend to subvert institutionalized liberal narratives of crisis and systemic displacement and put into question Italian immigration policies. [ABSTRACT FROM AUTHOR]

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak 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.)

El presente artículo propone un estudio sobre las formas en las que Unamuno concibe la autoría de la nivola y sobre cómo éstas se manifiestan en las distintas nivolas, particularmente en Amor y pedagogía, Niebla, Abel Sánchez y La novela de don Sandalio jugador de ajedrez. Como novelista y teórico de la novela, Unamuno defiende la autoría compartida por lo que, en la nivola, empleará las estrategias narrativas necesarias para eliminarse como autor de la misma. De entre los procedimientos más recurrentes, cabe destacar la ficcionalización de Unamuno mediante tres estrategias: el empleo de una entidad ficcional como autor de la nivola, la desidentificación unamuniana mediante, entre otros, la metalepsis, y su desacreditación como autor de la nivola en el interior de la misma. En paralelo, Unamuno, en su dimensión ontológica, como filósofo y pensador, lucha contra la finitud del ser humano mediante el procedimiento al que hemos denominado «la mascarada» de Unamuno, que le permite prevaler en su obra. Esta mascarada consiste en la delegación de su discurso a diferentes personajes. Proceso que puede llevarse a cabo de forma parcial (lo cual se ha calificado de «máscara simple») o de forma compleja (a la que corresponden los agonistas y los alter egos unamunianos). Con este trabajo se identificarán cada una de las estrategias mencionadas en la narrativa unamuniana con el fin de fomentar el debate sobre la cohabitación de dos formas de entender la autoría, a priori opuestas entre sí.

O “tempo”, como tema e como elemento estruturante, é um dos aspectos centrais do poema The Love Song of J. Alfred Prufrock, de T. S. Eliot. Como tal, diversos estudiosos da obra de Eliot, como Nancy Gish e J. Hillis Miller, propuseram análises e interpretações da temporalidade na produção do poeta e em The Love Song em particular. Quanto ao poema, a crítica parece concordar quanto à forma com que o tempo aparece nele: como continuidade sem sucessão, por um lado, e como sucessão sem continuidade, por outro. Em nosso estudo, partimos dessa conclusão e procuramos conciliar o aspecto temporal de The Love Song com outro elemento central seu, a ironia. Apoiando-nos nas ideias de Søren Kierkegaard e Paul De Man, identificamos que a ironia, em especial a ironia romântica, filosofia que funda a subjetividade moderna, possui uma formulação própria da temporalidade. Para o sujeito irônico, o tempo presente é tédio ou súbito, isto é, continuidade sem sucessão e sucessão sem continuidade, respectivamente, e o passado, uma ficção, enquanto que o futuro é tido como angústia. Assim, procuramos identificar como o tratamento do tempo em The Love Song corresponde ao “tempo da ironia” através de uma análise temática e estilística de algumas passagens do poema. Concluímos pelo estudo que a temporalidade representada na obra é pautada pela desarmonia entre continuidade e sucessão do tempo e que, em consonância com a estética irônica romântica, o tempo, no poema, é composto de tédio e súbito do presente, ausência e mistificação do passado, e prorrogação e angústia do futuro.

This study analyzes the use of the imperative mode in Twitter statements directed at Mexican presidents. It examines how speech acts are performed using imperatives and considers the possible presence of irony in these acts. According to the study's results, imperatives are mainly used in requests and advice, and to a lesser extent in other directive acts, indirect threats, disagreements, and discourse markers. They are also used as ironic acts that express critical comments towards the recipients. [Extracted from the article]

Copyright of Synergies Pologne 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.)

Copyright of Synergies Pologne 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.)

Copyright of Synergies Pologne 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.)

Copyright of Synergies Pologne 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.)

Copyright of Synergies Pologne 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.)

Copyright of Synergies Pologne 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.)

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

Copyright of CEDOTIC Journal / Revista CEDOTIC is the property of CEDOTIC Journal 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 Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 obra de Jorge Luis Borges (1899-1986) siempre suele relacionarse con la de autores ajenos a la literatura española como De Quincey, Stevenson, Whitman, Chesterton, Coleridge o Poe. Su anglofilia es bien conocida por todos. También su relación con el idioma de Goethe o con la cultura árabe y Las mil y una noches. Sin embargo, asumiendo su propia sentencia «Mi destino es la lengua castellana, el bronce de Francisco de Quevedo», rastrearemos las huellas indelebles que dejó la literatura española del Barroco y de los Siglos de Oro en la obra del escritor argentino, y cómo los símbolos del siglo XVII son recuperados desde la literatura reconstructivista de Borges para continuar con una tradición y al mismo tiempo transformar su significado.

En este artículo abordamos un análisis pragmático de las pancartas durante el Hirak argelino de febrero de 2019 centrándonos en el humor, la ironía y sus inferencias pragmáticas. Para llevar a cabo nuestro estudio hemos elegido 12 ejemplos sacados de las redes sociales, de YouTube o publicados en periódicos argelinos. Nuestro objetivo principal es describir y analizar las funciones discursivo-pragmáticas del humor, la ironía y las inferencias pragmáticas en las pancartas. El método utilizado es descriptivo-analítico basado en la intención comunicativa y el acto de habla a través del cual se manifesta el uso del humor y la ironía como objeto de estudio. Los resultados muestran que los acontecimientos verbales discursivo-pragmáticos del humor y la ironía corresponden a generar humor y realizar una crítica. Estas funciones se realizan por medio de actos habla asertivos, directivos y expresivos.

Bogotá zombie, se levantan los muertos el 9 de Abril y Zugar Zombie son dos obras que reescriben una parte de la historia de la violencia en Colombia en clave de ucronía incluyendo la temática zombi. La primera plantea un contexto alternativo al asesinato del líder político Jorge Eliécer Gaitán, ocurrido en 1948; la segunda evidencia las fatídicas consecuencias de la corrupción política. La metáfora de los muertos vivientes expone la profunda crisis latinoamericana y las desigualdades sociales que se acentúan por motivos políticos o por diferencias de clases. El uso de zombis abre la posibilidad de un tono irónico que estructura la crítica aguda en los dos casos. Para comprender la relevancia de estas manifestaciones artísticas será necesario revisar el género fantástico y de ciencia ficción en Latinoamérica, así como las obras que cuentan con un panorama donde se advierte la presencia constante de zombis con su amenaza horrorosa y a la vez satírica. Bogota zombie, the dead rise on April 9 and Zugar Zombie are two works that rewrite in uchrony a part of the history of violence in Colombia. Both include a zombie theme to narrate the assasination of political leader Jorge Eliécer Gaitán in 1948 and the fateful consequences of political corruption, respectively. The metaphor of the living dead exposes the deep Latin-American crisis and social inequalities that are emphasized by political reasons or due to class differences. To fully understand the relevance of these artistic manifestations, it will be necessary to review both the fantastic and science fiction genre in Latin America, as well as the works that have a full picture where the constant presence of zombies with their horrific and satirical threat is noted.

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 Versants: Revista Suiza de Literaturas Románicas is the property of University Library of Bern 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.)

At the beginning of the 19th century, the absurd as a term functioned primarily in the Latin version, and in the colloquial meaning it was understood as ‘nonsense’. The article discusses its uses in „Wiadomości Brukowe”, one of the most important and most representative periodicals of the early 19th century for the intellectual climate of Vilnius. Its authors, embracing the traditions of Enlightenment satire and early Romantic irony, linked absurdity with the observation of reality, as exemplifi ed by three texts analyzed in the article: an advertisement of the sale of Honesty and Conscience, a criticism of the Pacanowska Academy, and an advertisement of a subscription to the project of developing a machine for beating peasants. The absurd becomes here a signifi cant element of journalistic description. The use of the absurd was not a staple in „Wiadomości Brukowe”, but it was visible enough to help establish a tradition of the magazine and to allow its authors to gain important social and aesthetic experience. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Polish Linguistics is the property of Jagiellonian University Press 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.)