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

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El artículo estudia la novela de José Gómez de Arteche Un soldado español de veinte siglos, analizando su estructura narrativa, la presencia del mito del judío errante en la historia, el enriquecimiento de la caracterización del protagonista a partir de los rasgos del monstruo como construcción simbólica y la influencia de las propias ideas del autor en el discurso de los personajes, todo lo cual lleva a la conclusión de hallarnos ante una obra donde se conjuga la historiografía con la literatura fantástica desde el filtro de la personalidad del autor.

Este trabajo trata la obra de José Ángel Valente desde el punto de vista constructivista de la poesía como lugar vacío habitable. Se centra en su obra poética y ensayística, teniendo en cuenta lo que suscita y las referencias que en ella se encuentran.

El presente estudio se centra en dos poemas titulados «Criatura de dolor» y «Ante tu trono me presento», recogidos en Libro de familia, el último poemario de Félix Grande, a fin de indagar en el sentido de la música y el Flamenco aplicado a un corpus poético en relación a ciertos músicos. Los dos poemas hacen referencia a una gran familia melómana en la que la música viene a unir diversos medios de expresión artístico-literaria para representar tanto la amargura como el conocimiento. Partiendo de cantes y coplas, se componen historia y prehistoria en torno al arte flamenco, a la música clásica y sus intérpretes. Asimismo, se revela una conciencia de la necesidad de defender el mundo del flamenco ante una sociedad dominante que lo desprecia.

The purpose of this paper is to provide a critical comparative analysis of the disgust discourse in Chimamanda Ngozi Adichie’s Americanah (2013) and NoViolet Bulawayo’s We Need New Names (2013) so as to better understand the current politics of Afrodiasporic subjectivation. Built primarily on Sara Ahmed’s reflections on the emotional economies of disgust developed in The Cultural Politics of Emotion (2004), the discussion explores the relationship between space, emotions and subjectivity from the perspective of the “emotional turn” which is still under development within Postcolonial and Gender Urban Studies. This approach has enabled the understanding of the geographies of disgust in the two selected novels as an illustration of the exclusion process of racialisation in present urban spaces. Moreover, the interpretation of their protagonists as personifications of Isabel Carrera Suárez’s “post-colonial and post-diasporic pedestrian” (2015) has showed how an abject condition in non-western cities is primarily the result of the diverse forms of violence resulting from a failed process of decolonisation, while this corresponds to an ambivalent social positionality in the hegemonic metropolis. Social abjection has been thus revealed as a fundamental negotiation status in thesubjectivation process of contemporary Afrodiasporians. 

Translation and adaptation play an essential role in Irish contemporary theatre. Irish playwrights have turned to continental writers, such as Federico García Lorca, to rewrite their culture through another culture. Frank McGuinness has followed this tradition but, while his rewritings of Euripides or Sophocles have been widely discussed by scholarship, his version of Lorca’s The House of Bernarda Alba (1991) remains an unpublished text and, consequently, has not been the object of critical attention. This article intends to engage in close analysis of the play, addressing the strategies used by McGuinness to accommodate Lorca in the Irish context, and how the Lorquian themes voice the situation of women in the Northern Ireland of the 1990s, where McGuinness’s play was first produced. 

This paper explores J.M. Coetzee’s latest novel, The Schooldays of Jesus (2016), and focuses on its intense dialogue with ancient philosophical ideas such as Plato’s Theory of Forms and some of the author’s literary precursors, such as Cervantes’ Don Quixote (1605) and Musil’s The Confusions of Young Törless (1906). It is also a tribute to Johann Sebastian Bach’s brilliant mind and music, which Coetzee has already commented upon on different occasions. The Schooldays is an intertextual story about the magic of numbers, dance and music and tells the story of Davíd, a rebellious child who is sent to Juan Sebastián Arroyo’s Academy of Dance (Arroyo is Bach’s name translated into Spanish), where he learns that music and dance can help us  communicate with the universe and discover our true selves. It is the first time Coetzee incorporates magical elements and constant spiritual allusions in one of his plots, and I will argue that these, together with the intertextuality with other novels and texts and the characterization of the main characters, are used to show (once again) his ambivalence towards rationalism, but in a different style. This represents a turning point in his literary career.

The history of the African American community has been inexorably bound to the concepts of oppression, downgrading, racism, hatred and trauma. Although the association between racism and concomitant negative psychological outcome has been widely assessed, little work has been done to study the role of literature as a cultural means to promote resilience among this oppressed group. Langston Hughes (1902-1967) stands out as a novelist, poet and playwright, and is one of the primary contributors to the Harlem Renaissance movement. Following the framework of theories of resilience, this article analyses the representation of adversity and positive adaptation in Langston Hughes’s early stage poetry, and assesses his contribution to resilience among the African American people at a time of hardship and oppression.