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This article examines the secular use of prophecy and its appearances in Spain during the 2020 pandemic. It argues that prophecy functions as a cultural and political gesture with prescriptive potential over the future. As a glottopolitical tool (i.e., one that imbricates language and politics), it is contested between elites and subalterns articulating class warfare. Here, prophecy from above is analyzed through the concept of the "new normal," which allowed Spanish politicians to predefine immediate future and safeguard the integrity of the capitalist system. As an example of prophecy from below, the article analyzes Lengua o muerte, a poetic text by Dani Zelko and the Movimiento por la lengua, which denounces the death of Mohammed Hossein during the pandemic as a case of linguistic discrimination. The author concludes that the discursive undertaking deployed in the book involves prophecy as a strategy of resistance against dispossession and projects a future of inclusion and emancipation. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 representaciones de la desaparición y la (in)visibilidad juegan un papel clave a lo largo de la obra de Antonio Méndez Rubio (Fuente del Arco, Badajoz, España, 1967). Este estudio combina un enfoque temático y formal en las huellas y el silencio en una selección de poemas que abarca poemarios como Un lugar que no existe (1998), Por más señas (2005), Razón de más (2008) y Va verdad (2013). Más allá de arrojar luz sobre lo ocult(ad)o o tratar de revelar historias y memorias colectivas traumáticas ocultadas, muchos de los poemas de Méndez Rubio que aluden a huellas las presentan como agentes activos que no revelan objetos ocultos. El compromiso en esta poesía se basa en una visión del texto poético como objeto y espacio visual y una visión expandida de la relación compleja entre lo visible y lo invisible que engloba también la presencia y ausencia de elementos acústicos.

In the poetry of Federico García Lorca, the use of exclamation marks and, consequently, of exclamations, is extensive. What is interesting is that the poet should have had recourse to punctuation so evocative of the speaking and feeling subject at a time when dehumanization was the governing principle in art. This paper explores the way in which Lorca handles exclamations and what it says about the extent to which he submitted to or resisted dehumanization in his work. It begins by quantifying Lorca's use of exclamations before moving on to consider its evolution across his principal poetic collections. [ABSTRACT FROM AUTHOR]

This work analyses the struggles with Franco's censorship that José María Castellet had to face when he embarked on three anthology projects that were decisive in the history of post-war Spanish poetry. The particular severity with which Nueve novísimos poetas españoles (1970) was received invites us to focus on this anthology, which, with qualities that should have made it more resistant, fell foul of censorship in a way that its anthological predecessors did not. On the one hand, reflection on this paradox leads us to venture hypotheses about the dynamics of the repressive body's actions. On the other hand, a thorough analysis of the censorship dossier of Nueve novísimos allows us to draw some interesting conclusions. It is true, for example, that the elliptical diction introduced by the novísimo poets protected the anthology from a much wider purge. However, the censorship actually practised, which polished the more obvious aspects of its insurgent vocation, was enough to alter the historical reception and, by extension, the historiographical significance of a book that was stubbornly denied its subversive substance. The discovery of an unpublished composition by José María Álvarez is certainly not the least of the surprises of the archival side of this research. [ABSTRACT FROM AUTHOR]

Death and finality permeate the whole corpus of Juan Ramón Jiménez. However, the treatment of the topic shifts towards the end of his life. This article compares the styles and approaches to death in Juan Ramón Jiménez's Espacio and Dios deseado y deseante using Edward Said and Theodor Adorno's writings on 'late style'. Espacio is 'late' in its fragmentation and rupture with the poet's earlier poetics. However, the poetry of Dios deseado y deseante nuances what had been put forth in Espacio, while offering a contrasting view of death, finality and spirituality that responds to questions that Espacio opened. [ABSTRACT FROM AUTHOR]

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This essay revisits and reassesses the first major renewal of Spain's lyric tradition led by Juan Boscán and Garcilaso de la Vega. While not pretending to discover or disclose new revelations, it regards anew the historiography of the reception by both these poets of Petrarchism, a cultural project that has by now entered the mythology of Spanish poetry. I reflect on earlier Spanish literary histories, rereading their texts alongside late twentieth-century theories of imitation and recent critical and theoretical studies of early modern poetic production to sketch a brief trajectory of the shifting contours of Spanish Renaissance poetry and poetics. [ABSTRACT FROM AUTHOR]

El uso de la escritura como objeto artístico escribe su propia historia en los medios digitales gracias a la interacción con el receptor de la obra, que es lector y usuario. A través, fundamentalmente, de los marcos de referencia de la logofagia y la logoemesis abordamos el espacio del arte textovisual interactivo. Con ello afrontamos un corpus seleccionado y representativo de autoras digitales en lengua española, lo que es también un acto reivindicativo intrínseco: sus obras son relevantes y significativas como práctica tecnoartística y literaria, aunque en ocasiones han sido obviadas por su género. [ABSTRACT FROM AUTHOR]

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

The article focuses on the translation of "Horace's" Ars Poetica by José Morell in the late 17th century, examining its context amidst a shift in literary paradigms influenced by classical antiquity and Italian styles. Topics include the evolution of Spanish poetry, the significance of translating classical texts into vernacular languages, and the diverse approaches to translation, shedding light on the complexities of literary transformation during this period.

This article analyses Lorca's different representations of New York from three different perspectives. It first compares and contrasts the version of his experiences in New York that he presents to his family and friends in his letters, the notoriously apocalyptic vision projected in the verses of Poeta en Nueva York and the stylized representation of his American experience that he portrayed in his conference-recital. A close reading of all three parallel texts reveals quite significant differences between them in terms of the way Lorca presents both himself and the city. [ABSTRACT FROM AUTHOR]

The article explores the translation of visual imagery in the poetry of Antonio Colinas, emphasizing the role of mental images in the translation process and the connection between sensory perception and verse. It discusses how experiencing the physical aspects of objects, locations, or people mentioned in poems can enhance a translator's ability to capture the visual landscapes of the original text.

En este artículo examino los efectos de la acústica del convento de San Jerónimo en la vida y obra de sor Juana Inés de la Cruz. Con énfasis en la Respuesta a sor Filotea de la Cruz y Primero sueño , mi argumento es que la relación que sor Juana estableció con los sonidos a los que estuvo expuesta influyó en sus hábitos y su poesía, llevándola a establecer las bases de una poética en parte modelada por la experiencia acústica. En esa dirección, exploro los modos en los que esta poética dialoga y reinterpreta la tradición del silencio de la poesía místico-espiritual española del siglo XVI. Finalmente, pongo la sensibilidad acústica de sor Juana en diálogo con las preocupaciones sonoras de los intelectuales del siglo XIX con la intención de mostrar los modos en que el trabajo de sor Juana anticipó intereses y sensibilidades a menudo asociadas a la modernidad. In this article, I examine the effects of the acoustics of the Convent of San Jerónimo on the life and work of Sor Juana Inés de la Cruz. With emphasis on the "Respuesta a Sor Filotea de la Cruz" y "Primero sueño", my argument is that the relationship that Sor Juana established with the sounds to which she was exposed influenced her habits and her poetry, leading her to establish the foundations of a poetics in part shaped by the acoustic experience. Then, I explore how Sor Juana's poetics dialogues with and reinterprets the tradition of silence in sixteenth-century Spanish mystical-spiritual poetry. Finally, I put Sor Juana's acoustic sensibility in conversation with nineteenth-century intellectuals' concerns about noise. I do this to show how Sor Juana's work anticipated interests and sensibilities often associated with modernity. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC 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 Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

This paper deals with the reinterpretation of two Greco-Latin topoi (locus amoenus and beatus ille) in recent Spanish poetry. If locus amoenus has been considered the representation of the idyllic landscape since classical antiquity, beatus ille stands as the paradigm of an austere existence, far from the vanities of public life. The texts included here, written at the end of 20th and beginning of 21st centuries, show that the current effectiveness of the aforementioned topics depends on their ability to adapt to the values of nowadays culture, through strategies of aesthetic relocation and ironic dislocation. In fact, locus amoenus and beatus ille emerge from the literary tradition, come across the historical context, and interact with contemporary identity. More generally, it is argued that the expectations traditionally associated to nature-based topoi can be reactivated in today's society according to the new expressive needs, cultural conventions and environmental approaches. [ABSTRACT FROM AUTHOR]

This comparative study aims at highlighting loss of identity and nostalgia as two exile's post-impacts in Arabic and Spanish poetry. As exile is one of the recurrent themes in both cultures, the study has exclusively dedicated itself to investigate the loss of identity and nostalgia. In order to conduct the study, Darwish and Cernuda are selected to build the study on, as they have heavily referred to the above two post-impacts. The political situation which Palestine and Spain suffered from was the main motivation for the presence of exile in their poetry, respectively the external colonization in Darwish's case and the Civil War in Cernuda's. In order to practically conduct this comparative study, the author has selected a number of poems that share the same themes. [ABSTRACT FROM AUTHOR]

This comparative study aims at highlighting the symbolism of the olive tree in Palestinian and Spanish poetry. Since the olive tree is elemental in both cultures, the study attempts to tackle four main themes of such a dominant tree: resistance, peace, eternity, and homeland. In order to conduct the study, a number of poems employing the olive tree are investigated and analyzed in order to highlight the closeness between the Palestinian and the Spanish cultures. The study tries to prove the matchfullness between the symbolism of the olive tree in both poetries. The selection of the poems is based on the common ground of the olive tree symbolism in Palestine and Spain. The only theme in which the poetry in the two cultures does not completely coincide is resistance. In Palestinian poetry, the olive is used to signify resistance against occupation, while this tree is employed to denote the resistance to socioeconomic classism, urban sprawl, and natural disasters. In order to make an outstanding comparison in the three other themes, the author selected poems of both cultures where the olive tree signifies international symbolizations. [ABSTRACT FROM AUTHOR]

The article focuses on the poetic works of Sor Juana Inés de la Cruz, particularly her exploration of rhythm and rhetoric in "Primero sueño" and the romance decasílabo. Topics include Sor Juana's mastery of various poetic forms, her use of silence and sound, and the metrical complexity of her verse, highlighting her innovative approach to Spanish Baroque poetry. It mentions showcasing her profound influence on early modern Hispanic poetry.

The article explores the role of Boris de Tannenberg in the intellectual and artistic development of Edmond Rostand, focusing on their collaboration during Rostand's early poetic career and the translations of Spanish works. It delves into Tannenberg's influence on Rostand's interest in Spanish poetry, particularly the adaptation of legends by José Zorrilla y Moral.

The purpose of this work is to highlight Hispanic-Philippine poetry, and to show how through it, great poets gave honor to Mother Spain. She was, without a doubt, a recurrent topic in Hispanic-Filipino poetry, inspiring the best of her poets, who treated her as a mother, conqueror and evangelist. [ABSTRACT FROM AUTHOR]

In Spain during the second half of the twentieth century a certain type of poetry was born that did not find the place and the space for the debate that it undoubtedly deserved given its high linguistic and literary value. In this sense, the poetry of the Spanish poet Ignacio Prat deals with those types of writings that flank with experimentalism and with the true avant-garde itself. In this piece of work and through the study of a text entitled “Lineamenta” we will endeavor to show how the presence of a universal poet such as Dante can be perceived in the making and editing of the very text of such a poet. The proximity between literary creation and translation is proven here with the analysis of the poem, which, as we shall see, is influenced by the presence of Dante by a game of intertextual crossreferences that achieve to offer us a poem of high communicative content adorned with diachronic literary materials that the Spanish poet can reuse for a text of contemporary poetry. [ABSTRACT FROM AUTHOR]

The article delves into the evolution of Spanish poetry from 1985 to 2022, tracing its trajectory since the emergence of the Novissimes movement in 1970. It highlights the absence of explicit ruptures or manifestos in the subsequent years, focusing on the poetic landscape dominated by themes of experiential poetry and lyrical critique. It mentions that noteworthy poets shaping this period include Juan Luis Panero, Aníbal Nuñez, Jenaro Talens, Víctor Botas, Ana Rossetti, and others.

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

This essay addresses Pablo Neruda and Nancy Cunard's Spanish Civil War poetry anthology Los poetas del mundo defienden al pueblo espanol alongside Cunard's earlier anthology, her massive and eclectic Negro: Anthology (1934). I argue that when read alongside Cunard's later, lesser-known collaboration with Neruda, Negro can be seen as one part of Cunard's larger trajectory as an editor of coalitional anthologies. Los poetas, an understudied collection of modernist poetry deserving of recovery in its own right, also allows greater perspective of Cunard's earlier anthology. Reading Negro alongside Los poetas makes clear that the stakes of the project, along with the current academic discourse surrounding Cunard, are rooted in questions of the possibility of coalition. Ultimately, I argue that these anthologies uniquely model within their aesthetic form the organization of the political coalitions they seek to produce. They are coalitional, with the goal of bringing disparate elements into productive harmony, in both aesthetics and praxis. I locate what I call coalitional aesthetics within each volume, simultaneously attesting to the disparity of its constituent parts and to their unity. Coalitional aesthetics do not smooth over incongruities between individual parts but rather emphasize them, insisting on their singularity even within the whole they comprise. [ABSTRACT FROM AUTHOR]

Early Modern Spanish literature, also known as Golden Age Spanish literature, is a well-established period in the History of Spanish literary tradition, covering from the beginning of the sixteenth century to the end of the seventeenth century, from Renaissance to Baroque works. In the case of poetry, the stylistic change from one aesthetic to the other has been examined from a historical point of view, with some scholars considering a transitional group of poets between both stylistic movements, and many pointing to the writer Fernando de Herrera (1534–1597) as a bridge between the Renaissance style of Garcilaso de la Vega (1501–1536) and the Baroque of Luis de Góngora (1561–1627). This paper examines the stylistic change from Renaissance to Baroque in Spanish poetry and Herrera's place on it from a quantitative, computational point of view, applying a methodology which combines Stylometry and Network Analysis to a big corpus of poems and authors writing in this period. The resulting stylometric network for Renaissance and Baroque poetry proves there is a computationally measurable chronological evolution in the texts of this period, as well as a change of style from Renaissance to Baroque, and supports the existence of a transitional group of poets between these two literary movements, one of which is Fernando de Herrera. [ABSTRACT FROM AUTHOR]

The Spanish poetry written by women that appeared in the early 1980s has several aspects in common with the Peruvian poetry of the same period that have not been addressed by specialized critics. This article seeks to initiate this examination through the analysis of the Spanish author Ana Rossetti--Los devaneos de Erato (1980), Indicios vehementes (1985) and Devocionario (1986)--and the Peruvian Carmen Ollé--Noches de adrenalina (1981)--paying attention in particular to a gender perspective. This perspective appears in "universal" and essentialist literary readings through concrete aspects such as subterfuge, voyeurism, eroticism, and sexuality, as well as in the own ways in which each one of the poets expresses her woman's voice. [ABSTRACT FROM AUTHOR]

This paper investigates the poetic reality in Primer exilio by Ernestina de Champourcín, an understudied and forgotten female poet of the Generation of '27, also known as the Silver Period in 20th Century Spanish Poetry. Most of the 1927 Generation poets were exiled to Europe or Latin America during the Spanish Civil War or in its aftermath, and they were only able to return to Spain after the death of General Franco. Upon their return, they had difficulty in adjusting to their homeland. The female poets shared the journey of their male counterparts in their social struggle and experienced the same tragedies. Although their intellectual and artistic identities were known, these female poets, among whom were important thinkers, artists, writers, and translators, did not receive the due attention they deserved as their works were not included in the poetry anthologies of the period and were disregarded by literary critics, which delayed their rightful recognition and acknowledgement in Spanish literary history. By considering the social and cultural climate of its era, this paper explores the poetic realism in Primer exilio by Ernestina de Champourcín, who was born in Vitoria in 1905. After a discussion of the historical, social, and cultural circumstances of the period in which the poet lived, which was a critical moment in Spanish history, her poetic inclinations and the influences on her poetica are evaluated and the poetic realism created in her work Primer exilio is exemplified by poems translated from Spanish into Turkish. As a topic that has only very recently received attention, this paper references articles by Spanish poetry scholars and critics as well as the poet's own thoughts and poetry. [ABSTRACT FROM AUTHOR]

Copyright of FLAMME is the property of Universite de Limoges 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 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.)