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

This article deals with a rather unknown aspect of the work of the newest writer Antonio Martínez Sarrión: his travel prose. While his poetry, diaries and memoirs have been studied, his travel book Diario Austral, published in 1987 at the Hiperión publishing house, has been out of print for many years and has never been republished. This work joins the tradition of Spanish travel writers in Argentina, adding a reflection on books and bookstores in the Argentine capital.

This article would like to place itself complicitly in the wake of my friend Túa Blesa's Scriptor ludens (Ensayo sobre la poesía de Ignacio Prat). Playfulness, humour, the critical denunciation of the situation of women and the declaration of female empowerment characterize this 1999 poetry collection by Tina Suárez Rojas from its very title, in like manner as, years before, mental and verbal playfuness characterized the poetry of Ignacio Prat.

Afirmación del hombre was the first poetry book by César Augusto Ayuso published in 1980 and the last one  Respirar de los días in 2008. In this paper, a poetic trajectory that covers almost thirty years and that was drifting towards expressive containment, brevity, lightness and mood vibration is formally and thematically reviewed.

The last poetic composition of the philologist and musicologist Daniel Devoto can be read following two keys, two lines of force that culminate the investigative and creative career of this writer: the song of celebration of the music and the moving narration of his life, dedicated to his service.

Mala estrella’s writing is a ritual that conjures death in order to meet the beloved man in poetry; as metawriting Mala estrella inquires into the power of poetry to restore sense to a lenguage and a world defeated by death.

Commentary on the poem «Ciervos sobre una pared» (Clamor, 335) by Jorge Guillén as an example of ekphrasis.

The theme of Fashion and costumes is for Emilia Pardo Bazán inexhaustible whether from a hygienic, moral, economic, social or purely practical point of view. The Galician author lives intensely fashion and her trips abroad keep her in constant contact with the capital of the fashion world and her creations. That is why his novels and stories are full of characters built through fashion. The independent women who populate their stories and novels defy the codes of conduct of the time by dressing in a comfortable and practical way. The author elaborates the psychology of new and modern female literary archetypes such as Fé Neira, Miss Annie and Espina Porcel from clothing, makeup and accessories.

Although Federico García Lorca's re-reading of the greek tragedy is embodied in his famous rural trilogy, his avant-garde works have an acute questioning of the philosophical sense of the tragic in the recent imaginary. When five years pass(1931), part of its cycle of "unrepresentable comedies", expresses a complex philosophical research on the subject tragic. On the one hand, the work is worth a dream environment of surreal court and a deconstruction of subjective categories very to the expressionist taste, revealing the strong dialogue of the author with the European avant-garde . On the other, beside of the form there is a philosophical reflection connected with seemingly disparate universes, as are the auto sacramental of the Siglo de Oro and the reflections on the tragic of Nietzsche and Unamuno. This chapter proposes to break down this problem in Lorca's work, seeking to understand some of the coincidences and discrepancies between the old tragic model and the new approaches to the tragedy of an avant-garde dramaturgy.

Martínez de la Rosa had a solid humanistic background and a confessed inclination for the Greek and Latin classics. So the classical heritage can be traced in almost every field of his extensive literary production. One of the most significant examples is, without a doubt, the tragedy Edipo—premiered in 1832—. This work occupies a unique position in the Spanish Neoclassicism for a important part of the critics.

This paper investigates the association between the plays Fedraby Miguel de Unamuno, Antígonaby José María Pemán and La tejedora de sueñosby Antonio Buero Vallejo. Although their authors represent different conceptions and stages of the 20th century Spanish theatre, the three of them coincided in a self-confessed interest in the ancient Greek tragedy and in their desire to perform new versions of the myths. Contrasting the particular interest and objectives of Unamuno, Pemán and Buero will shed some light on both the differences and the possible common elements between their dramatic recreations and will provide an overview of the treatment of the myth in the 20th century Spanish theatre.