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

This article is a synthesis of the thesis El mambo de Pérez Prado and Mexican cinema (1948-1953), which was presented by the author in 1996 to obtain his degree from the Faculty of Political and Social Sciences of the National University Autonomous of Mexico. It is a text that is installed in the social history of the media, whose approach serves to expose the life and work of Dámaso Pérez Prado, a Cuban musician of great relevance to popular culture in the mid-20th century, when his record production had an impact on the international mass audience. The track of his musical milestones and his artistic career is followed to account for events and manifestations that reconfigured the popular sensibility in relation to the invention of the mambo as a genre and its implications in cultural life and the cultural industry, cinema, radio and music in Mexico, Cuba, the United States and the American continent in general.

This paper will seek to answer, from a Bejaminian perspective, the following question: How sampling, as a technique, and musical overproduction, as a socioeconomic context, construct and reflect themselves in Endtroducing...? For this reason, the answer to this question will be traced back to the dynamics of musical overproduction in the constitution and development of the music industry, and to the history of sampling as a founding technique of hip-hop as a musical genre. Once both points have been covered, both aspects of the relationship between technique and socio-economic context in the album under study will be threaded together.

This article tries to shed light on twenty-seven loci critici of Góngora’s first Solitude (1613): vv. 117-120, 153-162, 167-168, 171-175, 182-189, 212-221, 263-266, 291-296, 321-328, 344-349, 374-375, 461-464, 500-502, 573-579, 580-584, 585-589, 598-601, 623-629, 667-668, 701-704, 705-708, 810-811, 812-817, 866-871, 872-878, 895-896, 943 and 1012-1013. Taking the great edition of the Solitudes (1994) prepared by Robert Jammes as our starting point, we revise several textual readings which he considered doubtful. In  doing so, we take into account commentaries made by critics from the Baroque period (Almansa y Mendoza, Jáuregui, Abad de Rute, Díaz de Rivas, the Anonymous from Antequera, Pellicer, Salcedo Coronel, Vázquez Siruela) and also by the modern critics (Reyes, Spitzer, Alonso, Orozco, Pabst, Alatorre, Carreira, Sinicropi, Molho, Ly, Poggi, Cancelliere, Romanos, Sánchez Robayna, Lara Garrido, Yoshida, Blanco, Mazzocchi, Micó, Roses, Pérez Lasheras, Ponce Cárdenas, Collins, Tenorio, Matas Caballero, Chemris, Osuna Cabezas, Palomares, Castaldo, Román Gutiérrez, Tanabe, Rojas Castro, Conde, Encarnación…). Attention is also paid to the classical tradition, to emblems and to the dialogue between the first Solitude and the rest of Góngora’s poetic corpus.

In the Spanish language, the noun pinche has gathered new meanings and acquired new distributional patterns owing to specific contexts of use that have motivated a double refunctionalization. The purpose of this research is to illustrate the chain of reanalysis that pinche has gone though in the history of Spanish: first, from noun to adjective [El pinche de cocina > La pinche soledad (The kitchen assistant > Fucking loneliness)], and then from adjective to adverb [Tus pinches mentiras > Te pinches amo (Your fucking lies > I fucking love you)]. I will explain the obscure origin of the noun pinche as a way to understanding the underlying motivation which facilitated its first reanalysis. In the light of the results, I will describe the syntactic and semantic-pragmatic contexts that favored the refunctionalization of pinche. Finally, I will present evidence for a yet barely studied grammaticalization cline in the history of languages: the adjective > adverb cline.

This research aims at contributing new data which will help to expand our understanding of the word gitano (gypsy) and its presence in the history of the Spanish language. To achieve this objective, we will carry out a syntactic, lexicographical and documentary analysis of the word gitano, situating it in a general and diachronic perspective. The new information we provide seems to suggest that the 18th century constitutes a social and legal point of inflexion in the history of the gypsies in Spain, whose assimilation into Spanish society towards the end of that century fostered the massive introduction of gitanismos, words deriving from the language of Spanish gypsies, into our language from the beginning of 19th onwards. This phenomenon coincided with the massive influx of indigenismos, or words borrowed from Amerindian languages, into the Spanish spoken in America.

This article analyses the old Spanish prepositional locution menos de (‘without’) in terms of its diachronic and diatopic implementation, and shows how and why its analysis has been affected by the interference of other prepositional locutions in Old Spanish such as a menos de. It also explores its relations with the Old Catalan and Aragonese locutions menys de (‘without’). The analysis is largely based on data from linguistic corpora. The conclusions of the analysis confirm some recent critical proposals concerning the geographical distribution of certain linguistic phenomena in Old Spanish and the complexity of Old Spanish in terms of its internal variation in the late Middle Ages. 

This article explores the connection between grim melancholy and its psychiatric effects on the monarchical class in the literature of medieval Iberia. Medieval medical epistemology posited that when the black humor burned, the ensuing vapors ascended to the head, creating a disconnect between cognitive perception and the empirical reality. Supported by readings of the works of King Alfonso X, Ramon Llull and Juan Manuel, this study shows how melancholic madness contained within it the impulse to dehumanize the victims of this condition and to expel them from their community and from social life. 

Review

Review

Review