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

Although we have detailed and in-depth analysis about the novel Pabellón de reposo, dealing with structure, temporality, or configuration of the characters, academics have sidestepped the value of Camilo José Cela’s novel as pathographic narrative. This paper attends to Pabellón de reposo as a representation of TB disease, the life of patients, and the role played by their discourses on their illness. First, we argue how, even though the glamorous image of tuberculosis was almost gone in the first half of the twentieth century, Cela opts for a sifted representation of the disease, where the romantic heritage has a deep impact on his ill characters, and the novel is tinged with the romanticism that literature of sanatoria had already left behind. Second, we establish a connection between some of the medical opinions of the time and the reflections that the author includes in Pabellón de reposo about whether the writing or reading of pathographic narratives can help to improve or worsen the health of the patient. In this way, we review the existence in the first half of the twentieth century of this connection between Medicine and Humanities, which is nowadays the focus of the discipline of Medical Humanities.

This paper examines the use of authors and literary exemplification in the Spanish grammar, through the case of Nouvelle méthode pour apprendre facilement et en peu de temps la langue espagnole (NME) by Claude Lancelot (1660). Specifically, we focus on the influence of literary criticism, which is often detectable in the history of Spanish grammar. We conserve traces of this influence: two letters sent by Jean Chapelain to the grammarian of Port Royal. After analyzing the NME, we can conclude that Lancelot is well advised, not only by the literary criticism but also by poetic sources (Arte poética española, Rengifo 1592) and grammatical sources (La Parfaicte Methode, Charpentier 1596). Apart from these influences, Lancelot makes room for his own esthetic ideas: he likes religious authors as Rivadeneyra, Fray Luis de Granada or Juan de Ávila, and he knows about Gracián’s success.

Juan de Iriarte y Cisneros and his nephews, Bernardo, Tomás and Domingo de Iriarte y Nieves-Ravelo formed one of the most important intellectual groups of the eighteenth century Spain. Some of the manuscripts left to us are interesting for historical lexicology and lexicography. On the one hand, they can provide data on the development of both disciplines on the stage; on the other, and above all, they provide knowledge of the Spanish lexicon of the time. Our review will provide information about unknown works, and also show how the political and social ascension of the Iriartes was linked to their philological projects.

This study seeks to catalogue in alphabetic order the paremias that are included in the dramatic works of the ill-fated Madrid poet and friend and disciple of Lope de Vega, Juan Pérez de Montalbán, as a manifestation of a very popular convention in Spanish Golden Age dramas: the systematic incorporation of proverbs, refrains and other paremias in the dramatic text, generally issuing from the mouth of the gracioso. This corpus is based on a total of 46 dramas, that include 25 plays universally accepted as authentic, 11 plays of probable authorship and 10 plays of dubious attribution. Once the corpus is established, the article proceeds to a brief analysis of the function of paremias en Golden Age comedy in general, and in the dramatic works of Pérez de Montalbán in particular.

Despite the abundance of texts where writers explain the creation process, the function of literature or the image of the poet, there is a significant lack of studies on the subject. This paper goes into detailed analysis of explicit poetics, from his origin and main characteristics to the essential features that let us recognize explicit poetics as a genre.

Fray Luis de León’s poem dedicated to marques of Alcañices’s daughter is usually understood as a minor, unrelevant poem, compared to the greatest poems of his production. A study of the poem from the point of view of the “poetics of the light” typical of ficinian neoplatonism –the christianization of certain pagan motifs, as Apolo; the influence of certain planets; the relationship between body and soul– emphasize that the composition, far from being an “amusement”, reproduces the same internal logic that stands his greatest poems, since it keeps a deep relationship with neoplatonic doctrine diffused through all European Renaissance.