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Este artículo presenta un avance del trabajo de investigación sobre la música incidental compuesta por Manuel M. Ponce en 1934 para La verdad sospechosa de Juan Ruiz de Alarcón, llevada a la escena en septiembre de 1934 con motivo de la inauguración del Palacio de Bellas Artes de México. La información que se muestra es resultado de la revisión de libros, tesis y artículos, así como la consulta de manuscritos en bibliotecas, museos y archivos de personas cercanas a herederos de Manuel M. Ponce. Esta recopilación de información busca reunificar los movimientos de dicha obra.

En este artículo se aborda el tema de lo maravilloso áureo en función de la trama de La cueva de Salamanca, así como las técnicas teatrales que propone Juan Ruiz de Alarcón para transmitir a los receptores la idea de que suceden diferentes hechos maravillosos en los que se transforma lo real o en los que solo hay ilusión debido a un encantamiento. Los procedimientos técnicos, además de escenificar los sucesos maravillosos, cumplen el doble cometido de causar admiratio y mover a risa a los espectadores.

Copyright of Lemir is the property of Universitat de Valencia 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.)

Spanish Medieval literature is very rich in classical sources, and the mastery of this technique is seen more easily in plays as important as the celebrated Libro de buen amor, written by Juan Ruiz, Archpriest of Hita, in the first half of the fourteenth century. This article discusses one of the many “enxiemplos” included in the Libro, which serve to illustrate a moralizing idea; it is the “Enxiemplo del león e del mur”, a text which note, as in similar cases, clear plot concomitants with different fables related to it and which were written by Aesop, Babrius and Gualterius. However, the study of the main differences between the texts will articulate, even better, some defining characteristics of the literary and artistic style of the Spanish medieval writer, such as the amplificatio, the update, the manners and the use of the stylistic devices.

Copyright of Lemir is the property of Universitat de Valencia 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 Lemir is the property of Universitat de Valencia 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.)

Juan Ruiz de Alarcón's Las paredes oyen is not an ordinary comedia. Its verses portray the embodied and social experience of disability in seventeenth-century Spain from the insider perspective of a disabled person. The play had a successful eighteen-year run in the Habsburg Court of Philip IV, but, paradoxically, it was never performed as Ruiz de Alarcón originally envisioned. Archival evidence shows that the play's main character, a man with an undisclosed bodily deformity, was consistently portrayed as bodily normative. The present study delves into the logic behind such an intentional omission, ascribing these attitudes toward the staging of deviant corporealities in leading parts to both the principles of dramatic decorum and theater's financial reliance on the audiences' preferences. In addition to inviting playgoers to experience life as a person with a disability vicariously, Ruiz de Alarcón's ultimate intention in Las paredes oyen is to challenge the way in which non-normative bodies were traditionally represented in Golden Age theater. To convey his message, Ruiz de Alarcón bent the rules of decorum in the characterization of the leading man, a departure from the playwriting conventions of the Arte nuevo that led to a bitter dispute with Lope de Vega. [ABSTRACT FROM AUTHOR]

Juan Ruiz de Alarcón, a seventeenth-century writer and native of New Spain, so excelled at the craft of writing "comedias" that he is recognized as one of the great writers of early modern Spain. In his personal life Ruiz de Alarcón struggled with a significant bodily impairment, a large hump on both his back and front, which made him the target of much attention and scorn from his fellow writers and others in society. No journals or letters exist that document his personal life or attitudes toward his impairment. However, disability theory opens a way to explore the woven fabric of Ruiz de Alarcón's life and works. Both the themes and the characters in his popular comedias trace how his embodiment and experiences influenced his depiction of imperfections. Three of his seventeenth-century "comedias," "Las paredes oyen," "La prueba de las promesas," and "Examen de maridos," address different aspects of imperfection in both direct and indirect ways.

Katrin Hedwig, “En feo libro non feo saber”. Investigaciones sobre la configuración literaria de los pecados mortales en el Libro de buen amor de Juan Ruiz, traducción al español de Ana Elvira Vilchis Barrera, México, Universidad Nacional Autónoma de México-Monosílabo, 2017, 352 pp.

The metaverse is known as the hypothetical iteration of the Internet as a single, connected, universal and immersive virtual world that can be accessed via immersive technology devices. One approach to this concept can be achieved through the use of multi-user immersive virtual reality applications. Immersive virtual reality (IVR), which uses gadgets that allow the user to visualize and interact in an enveloping way, is a very attractive technology for teaching purposes. There are many references in the scientific literature about its use for this purpose, including encouraging results in the field of medicine. However, there have not been enough studies assessing how much this type of technology really contributes to learning medicine. This work investigates the feasibility of using the metaverse as an educational tool in medicine. We propose a multi-user immersive virtual reality application for implementing a scene of the metaverse in which medical students are taught. Our work considers that in order to ensure this type of technology is useful in the education of medical students, the technology itself (multi-user IVR) must be designed and implemented for a medical student profile. They usually spend too much time for adapting themselves to use and manage this kind of technology when they are exposed to it for learning. The technology should not be a barrier to acquiring, or disseminating the academic contents themselves. It should act as a catalyst that enhances the speed and capacity for learning medical educational topics. Thus, we present design and user experience specifications that we implemented in an anatomical dissection room in the metaverse, and with which we conducted experiments with 114 sixth-grade medical students. Our results indicate that, based on the design and user experience characteristics that we propose in this paper, the metaverse can indeed serve as a useful and effective educational resource whose technological complexity is no barrier to medical teaching.

Aunque en el título de esta nota se apunta sólo a un verso concreto del Libro de Buen Amor, en realidad se revisan varios pasajes de la obra con referencias ictiológicas y ornitológicas oscuras a las que editores y exegetas no han sabido dar una solución satisfactoria.