Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The aim of this paper is to approach The Hours, written by Michael Cunningham and filmed by Stephen Daldry, to demonstrate that both discourses contain a tribute to the literary figure of Virginia Woolf with different degrees of success. Firstly, the purpose is to prove that both stories are shaped as a sui generis biographical construction of Mrs. Dalloway’s author.  Secondly, this study will go depper into the differences between both narrative works and will show that the film is better than the novel in its attempt to pay homage to the narrative style of Virginia Woolf.

This paper studies the influence on the poetry of José Verón Gormaz of the thought of María Zambrano, paying special attention to the link that she proposes between philosophy and poetry. Starting from this link, the paper analyzes the poetics of silence, one of the logophagic figures of modern poetics.

Amongst the figures of logophagy that Túa Blesa puts forward in his remarkable Logografías (1998), there is the text-apsis. The article states that «L’aventura», by Josep Palau i Fabre, a sequence of five poems of eight lines each, is a text-apsis, although differing from the figure, because has an original to refer to «Sensation», by Arthur Rimbaud. If the first sequence of Palau’s poem is a fairly faithful translation of the French original, the following four become more and more an original poem by Palau. The article offers a close reading of Palau’s Catalan and Spanish version of his poem —translated and recreated by the poet himself— always related to Rimbaud’s poem —palimpsestuous-ly—.

In this article, the creation mechanisms of Honorio Bustos Domecq and other apocryphal writers created by Borges and Bioy are described in relation to other fake authors, such as Clara Beter, Eduardo Torres or Sabino Ordás. The modus operandi is very similar in every case, excluding the obvious differences; thus, this “third man” is part of a family of fake writers with which he shares a significant part of qualities.

The guiding factor of this work is the versatility of the myth of don Juan, his facility for adapting to new times, ideologies, formats and aesthetics, because in that characteristic lies his most clear property: artistic nomadism. Starting from the dialogue between literature and the other arts, these pages examine the fertile dialogue of this literary myth with the plastic arts and, in particular, with painting.

This paper focuses on what happens when literature goes beyond itself and unfolds the aporias that constitute the notion of testimony and promise. Based on a deconstructive reading of the stories about the shootings in Viznar and in León mining basin in 1936, told by Mercedes del Amo and Josefina Aldecoa.

Testing himself with Artaud’s project and realizing the thought of Gilles Deleuze, in the Italian theatre of the sixties appeared the phenomenon of the most controversial and unclassifiable actor, author and director of recent European theatre: Carmelo Bene. The prolific playwright ―born in 1937 in Salento (province of Lecce, Apulia) the heel of the Italian boot (“Il sud del Sud”), and died in 2002―, is known by most as an ambiguous and particularly eccentric character who prevailed against the traditional theatre and against the avant-garde itself. Still nowadays, eighteen years after his death, he continues to arouse high interest and doubts. His theatre rejects the text, the word with all its signifieds that are reproduced thanks to the traditional representation (with all its agents: author, director, actor and audience). Bene rejects a conception of art that in Western theatre has stagnated, perpetuating imitation according to Aristotelian precepts, thus preventing free and liberating creation. According to Piergiorgio Giacché, Carmelo Bene is the only one who places his actorism above any other role and theatrical vocation (that is, beyond the author and against the director) and accepts the actor’s loneliness to celebrate his freedom and that of theatrical art. However, Carmelo Bene also acts the liberation in the theatre of the signifiers on which he imposes his voice with his modulations and amplifications, to disappear and “lose himself” in the artifice of the “Actorial Machine”.

The work of the Spanish writer Andrés Sánchez Robayna is marked by a great variety of expressions of silence, and in this essay, we want to propose a reading that is based on the theoretical contributions of the critic Túa Blesa about the traces of silence in contemporary poetry. It is about trying to understand how logophagies are articulated, what they are based on, and how they dialogue with the ontolinguistic researches that catalyze robaynian creation. These visible white spaces and silent traces, inherited from the Mallarmean tradition, establish numerous echoes with the essays, autopoetic texts and Diarios that Robayna often dedicates to the Canary Island space, a land that arouses his desire and his creation. We will be interested in highlighting several fragments of the Canarian poet that allude to the memorial and sacred void, to these ghostly gods that wander after colonization, visible and invisible, silent, and we will try to see the meeting points that may exist between Robayna's logophagic expressions and the search for the ghosts of the pre-colonial past.

This paper begins by considering those artistic processes described as «logophagyc» by Professor Túa Blesa (1998; 2011). Logophagy’s theoretical roots are hence described as well as its typology, by linking it to Jacques Derrida’s philosophical project and specifically to his work Plato’s Pharmacy. The viability of analysing some of Rogelio Lopez Cuenca’s works in the light of these theories is then studied; special attention is taken to those works which are conveyed through a challenging of writing techniques and its political implications. It is finally shown how the «silence» of logophagy’s techniques has both political roots and expressions in the visual artist’s works.

Although the Platonic tradition separated the visible from the intelligible (the only source of knowledge), in the work of hermeneutics these two dimensions are linked, as shown by the scholar of Reception Aesthetics W. Iser, whose postulates are based on phenomenological theory and in Gestalt. If this premise is inherent to any interpretation, it is much more evident in visual poetry, where the understanding of the poem is the result of seeing and reading the text. Analyzing a representative sample of this poetic modality, with its diverse typology, is the objective of this work.