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

El álbum mexicano was an illustrated literary magazine edited by the printer Ignacio Cumplido that circulated in Mexico during 1849. Each number of the magazine included an illustration taken from Les fleurs animées (The flowers personified), an illustrated book published in France in 1847 by the illustrator and cartoonist Jean Ignace Isidore Grandville. The book dealt with the theme of values and the role of women. This book became an inspiration to develop a discourse about women through translations, abstracts, paraphrases and adaptations of the original text but also through new stories and essays that go beyond the translation process. Based on these illustrations and texts, this work proposes an exploration of the notion of paratranslation through the analysis of verbal and nonverbal paratextual elements linked to the source text and, mostly to the target text. Using the conceptual framework developed by Yuste Frías, the aim of this work is to demonstrate the applicability of the notion of paratranslation to the adaptation of texts and images for various target languages and cultures.

This paper characterizes some of the central aspects in Idle Days in Patagonia (1893), by Anglo-Argentine naturalist and writer William Henry Hudson. In this work, the author recalls his stay in the Patagonia territory between 1870 and 1871. We aim to examine the work from the perspective of Imagology, and characterizing the subject’s relation con his self-image and the hetero-image that is developed in the text. Due to the relation with space, idleness is conceived as a productive intellectual activity that shapes a representation of the semimystic link with nature. The focus of our interest is the convergence between identity and alterity in the Argentina rural environment of the 19th century: the development of Hudson’s strategies of swindling his Argentine identity in a text written for English readers, along with a search for empathy with the indigenous alterity in absentia. We also aim to discuss the genre statute in a text as ambiguous as Idle Days in Patagonia, which, like its author, escapes classifications. Finally, we briefly compare this work with an unfinished work by Eduardo Holmberg, due to how the stance each author takes in their respective literary fields enlightens the manners of imaginary representation of the Patagonia space.

This essay presents a second language (LE/L2) Spanish intermediate or advanced course based on short films, a genre overlooked both in the film industry and in the academia. Rather than a mere tool to amuse students a couple of times a semester, the short films will become the protagonists of the LE/L2 Spanish class. Although it might be categorized as a film or culture proposal, I have designed a conversational Spanish class. Like short films, conversation courses are underestimated and often labeled as easy. Therefore, this essay will examine neglected courses; put short films and conversation in their well-deserved place; and, above all, organize a LE/L2 conversation course based on short films. Before moving on to the proposal, I will briefly describe the intrinsic characteristics, recent history, and pedagogical benefits of the short films. I will continue with the presentation of the selected short films, providing basic information on each of them. I will conclude by choosing one of the short films and designing a pedagogical unit around it, which will serve as a model for the other short films.

The history of the anthroponomy of Honduras remains understudied until now, as it happens in other Central American regions. This paper aims to study the forenames used in Honduras during 17th and 18th centuries. For this purpose, a corpus of 33 historical documents (Ramírez Luengo, 2017) will be studied in order to: a) describe the usage of forenames in Honduras; b) analyze the distribution of the anthroponomy in regard to social criteria; c) compare the usage of forenames in other Hispanic zones during these centuries. The final goal is to increase the knowledge of historical anthroponomy in Honduras and also in Central America.

The teaching of Spanish as a foreign language (ELE) still confronts various unresolved enigmas. One of them deals with the lack of precision in the teaching of the phraseology, given the fact that at the present time it is unknown what phraseological units (here reduced to the idioms) have to be included in the learning according to the student's level; besides the inexistence of instruction related to the subtype of idioms that has to be present in each linguistic level. Thus, the aim of this paper is to show what criteria has been followed for the design of a phraseological minimum ad hoc, as well as the units (idioms) that are part of it for the different common reference levels of the CEFR. As a result, 39 idioms are obtained for level A1-A2, 407 for level B1-B2 and 843 for level C1-C2.

The purpose of this article is to determine the funtions of the historical present in two traditional Costa Rican narrative texts. The analisis shows that there is not a single function of the historical present in these texts, but several, such as that which marks direct style, and that which contributes to the organization of the texts in chronological segments and to the characterization of its orientation component.

Maximiliano and Carlota Hapsburg arrived at the port of Veracruz on May 28, 1864, and completed their trip to Mexico on June 12. Throughout their march, they were received in diverse cities with celebrations and ceremonies whose central axis is ephemeral art. Through the chronicles and stories published in the newspaper La Sociedad, this article aims to demonstrate the survival of the New Spanish Baroque world in the reception of the emperors, as well as the interest of conservatism supporters in constructing the new monarchs as effigies of justice and mercy. The analysis of symbols and epithets written in the poems used to decorate the Veracruz docks, as well as the balconies and triumphal arches in Puebla and Mexico, allowing us to perceive a providential vision of history, which constructs the emperors as figures with those that seal a pact with God, through which it is intended to achieve peace for a nation that has struggled internally for fifty years of independent life. This approach to the press of the Second Empire wants to open a critical dialogue with the vision of Mexican bronze history.