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

Attending the global eco-concern and water issues, this article analyzes, from Ecocriticism’s perspective, the lake and lagoon subjects in a sample of Hispanic eco-poetry. The text corpus includes 48 poems or fragments of these. They belong to the Mexican Homero Aridjis, José Emilio Pacheco, Verónica Volkow, Ali Calderon, Efrain Bartolome and Mario Zetune Puglisi; the Nicaraguan Pablo Antonio Cuadra, Ernesto Cardenal and Gioconda Belli; the Costa Rican Laureano Alban, Julieta Dobles, Ani Brenes and Patrick Cotter; the Colombian Juan Carlos Galeano; the Peruvian Eduardo Chirinos; the Uruguayan Ida Vitale; the Argentinian Olga Orozco and Liliana Mainardi; the Chilean Javier Campos; and the Spanish Antonio Colinas, Fernando Valverde and Daniel Rodriguez. This multiple choice allows, more than a comparative study, a transnational and transcontinental approach of the Hispanic ecopoetry from a holistic viewpoint, because it is interesting in recognizing and poeticizing natural motifs and ecological problems according to different aesthetic practices and geographic areas.

It offers an approach to the “Loa en las huertas da donde fue a divertirse la excelentísima señora Condesa de Paredes, Marquesa de la Laguna” the short play uses characters taken from the classical mythology and takes to the stage in the structural plane a game of repetitions. The way in which these repetitions work at the acoustic, visual and symbolic level is explored.

This article tries about the study of the Central American dramatic writing during the colony. In this occasion, I present an analysis of a set of loas found in the text "Plausibles fiestas reales" (1761), which are an account of special kind of celebration in the province of Sonsonate, a peripheral village in the cartography of the Kingdom of Guatemala. These dramatic texts are part of a baroque narrative seeking to exalt the figure of the king and local authorities.

This paper studies the configuration of space in the frame of Casa del placer honesto. Through the analysis of natural elements present in the house where the action takes place (the garden and fountains), and the creation of environments that recreate nature by imitation, it is possible to conclude that the work introduces a progressive pursuit of locus amoenus inside of the urban locus inhospitus. This ascending line breaks down abruptly when the illness arrives, and the impossibility of utopia is discovered.

This analysis focuses on an approach to the symbolic framework around the water metaphors in the poetry book "Cancionero y romancero de ausencias" by Miguel Hernández, to determine the proposal that this poetic work poses in the intrapersonal and social field. Thus, it is concluded that water is used by the poet as a purification instrument, not only in terms of feelings of the lyric self, but in the search to purify a Spanish society plunged into the war, which will represent a duality between the pain of his son's death and the desire of renew and fertilization in a new society after the rain. Therefore, it is both a return to the fundamental life treasures and a wake-up call that, loaded with subtlety, accounts for the social environment of the moment.

From the postulates of Iuri Lotmann, Mijail Bajtin and Feruccio Rossi Landi somelinks with narrative of the Spanish writer of Basque origin Pío Baroja areestablished, in a particular way with the novel Zalacaín el aventurero is observedwhere the way in which Baroja offers a humanized perspective of nature.

The work presents an approach to the work of Miguel de Cervantes Saavedra Los trabajos de Persiles y Seguismunda (1617), known as El Persiles, from different scenarios that have to do with the topic of nature: the caves, the sea, the islands locus amoenus, and some aspects that have to do with geography.

The story entitled "El puente" by the Costa Rican writer Carlos Salazar Herrera shows the dichotomy posed by Sarmiento (1845) between civilization and barbarism, where the natural space is analogous to barbarism and is represented by the Chela (main character) and its customs. On the other hand, civilization is related to city values, aspect that Marcial symbolizes, character that embodies the patriarchal society, as well as the myth of whitening. In the whitening project "Vallecentralino", the invisibility of the indigenous world was an unavoidable requirement, since it did not fit into the liberal civilizing model. The other option of the subalternized groups was to flee to the wild fields, far from the phalanges of the colonizer. Therefore, the dilemma was to assimilate or "disappear." However, in the story the Chela suffers a fourfold oppression, since she is part of an ethnic group inferiorized by her culture, she is also indicated by the color of her skin, because she is an orphan and a woman. In this sense, the Chela, besides embodying the Costa Rican founding myth, is a symbol of the tainted country, mocked and surrendered to the arms of the conqueror, personified by Marcial, who, by all accounts, alludes to the military and the bellicose. In addition, it is interesting to emphasize that the bridge, whose sound resembles that of a marimba, is also the transition between the wild and natural space, that is, between rurality and civilized space, or between the town and the city. Additionally, this article seeks to explain how the bridge constitutes the line of "being and not being", an aspect developed by Fanon (1952) and later problematized by Grossfoguel.

The ecofeminist approach explores a link between an idyllic nature of the western philosophical aesthetic and an aggressive nature inherent in its apocalyptic and monstrous side. This approach serves as a bridge between two competing forces to model and negotiate the potentiality represented by political ecology and the quest for social justice. This study examines the costs of aggression, domination and competition by reclaiming a story from Mexican history and reformulating it in the alternative narrative, The Isle of Passion, written by Colombian novelist Laura Restrepo. The novel discovers both the power of nature and women to dismantle social and natural hierarchies and recreate more open systems relying, in their place, on their inherent values. This transformation is ironically achieved on an almost deserted island, which was ignored by the Mexican government but desired by numerous multinational powers since the beginning of the twentieth century. It is here in this microcosm of society where the two worlds of savage and idyllic nature collide to yield a figure of nature as partner and collaborator that aides in the battle against the decaying of the earth and human moral life.

The current Spanish narrative continues to make use of the classic elements, the literary topics. “Berta, the singing hydrangea” of the Spanish writer Vicente París, is one of the stories that appears in 20 disquieting stories, a compilation of texts oriented to themes such as science fiction and terror. The present analysis will approach this story from the perspective of the literary topics, particularly the locus amoenus and the locus terribilis and its objective is to study the presence of the literary topics mentioned in the modern Spanish narrative, to verify how these are adapting to the changes Cultural and new worldviews without losing their discursive validity. For that locus amoenus responds to the relationship between natural beauty and the return to the human that the protagonist experiences when he renounces the social norm that oppresses him, whereas the locus terribilis is represented by the isolation produced by social norms and the technology that has kept him away from the beauty of life. As a result, it is evident that literary topics, even if they have adapted to the new world view of modernity, maintain their discursive validity as long as the idyllic vision of the natural space as opposed to the urban one recovers.