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Florimont, by Aimon de Varennes, a 12th-century Lyonnais author, seems to have been written in 1188, but its dating remains uncertain. The novel tells how a young man, deeply enamored of a fairy, is led to betray, in spite of himself, the one he loves, thus losing his love and how, after many sufferings, the young hero consoles himself with another love and becomes king. Throughout his adventures, Florimont is accompanied by his master, Flocart, who guides and educates him with highly moralistic speeches. We propose to study how the latter character, who, according to Katalin Halász, participates in a higher power or omniscience of the narrator, builds his relationship with his pupil, for the purpose of individual and collective edification. We will first see that Flocart assumes a dual diegetic function that favors the process of individuation of his pupil. We will then show that his multiple interpretations of dreams give him the role of a master of truth who sanctifies the destiny of Florimont. Finally, we will observe that Flocart’s paremiological discourse takes on the appearance of a mirror for princes, able to reveal to his young pupil the principal qualities of a good king, which is achieved by placing generosity at the heart of human and political relations.

Le Disciple (The Disciple) is Paul Bourget’s main work. The book, which was published in 1889, was preceded by a psychological novel, Mensonges (A Living Lie), published in 1887, and followed by a thesis novel, L’Étape, published in 1902, in which this member of the French Academy prefigured and reconfigured the character of the teacher and that of the student. His model teaching figures are the edifying character of the priest-teacher or of the Christian teacher, who support the values of traditional Catholic education, which differ from those of secular teachers. The fictional outline of the characters as well as the author’s diaries shed light on the evolution of the author’s theories about teaching, which were linked to the Catholic faith,  showing how his fictional and personal writings developed in parallel.

The article analyses the figures of hermits and recluses presented in The Quest for the Holy Grail, and functioning in this anonymous Arthurian romance of the 13th century as variants of the figure of a spiritual mentor, complementing the figure of a master in chivalry. These characters shape the narrative discourse and enrich the sapiential, moral and formative aspects of the work. They also re-define the courtly ethos by introducing the idea of celestial chivalry, which complements the idea of terrestrial chivalry, typical of the Arthurian romance of the 12th century.

The paper analyzes Teodor de Wyzewa’s critical writings (collected in Nos Maîtres) and literary texts, paying special attention to his attitude to those whom he considered his masters. The evolution of Wyzewa’s ideas shows that this adept at Wagnerism gradually distanced himself from those who had influenced him, replacing the intellectual approach to art and blind faith in science, regarded as worthless, by an aesthetic and ethical ideal. In the novel Valbert ou les Récits d’un jeune homme, Wyzewa describes a move away from alienating idealism towards a spontaneous attitude to life. His new interpretation of biblical parables abandons Schopenhauer’s philosophy in favour of the Tolstoyan movement (Contes chrétiens). The search for moral values is connected with a break with Symbolist thought for the benefit of a religion of love and beauty. Formulating his own teaching, Wyzewa surpassed the authority of his masters, without, however, diminishing their significance for his generation.

El presente trabajo de investigación propone la incidencia de los hogares disfuncionales en el desarrollo socio-afectivo de los escolares, se entiende que dentro de las familias la presencia de conflictos puede llegar a ser parte de un proceso, sin embargo estas exacerbaciones de los mismos al intensificarse desborda en una serie de situaciones negativas que recaen sobre los  niños del hogar, el objetivo de este estudio es identificar la incidencia de los hogares disfuncionales sobre el desarrollo afectivo de los niños, en una muestra de 100 estudiantes del Séptimo Año de Educación General Básica, de la Unidad Educativa Milagro. La metodología utilizada fue cuantitativa, descriptiva y correlacional, y los instrumentos utilizados fueron la escala de clima, y la escala de afecto. Los resultados obtenidos indicaron que el 57,31%  apunta a la presencia de hogares disfuncionales, con un clima familiar caracterizado por 57,17% de no cohesión, el 58,38% de no expresividad y el 56,36% de conflictos, frente a un 42,69%, que afirman no padecer de disfuncionalidad. Y la variable desarrollo socio-afectivo, el 61, 09% de escolares evidenciaron falta de afecto y vinculo comunicativo, y el 38, 91% demostraron recibir amor en sus hogares, y en la dimensión de criticarechazo, el 53,28% percibieron malos tratos de sus padres, sin embargo el 46,72% no evidencia ningún tipo de acción. Todo esto llevó a saber que los escolares presentan un desarrollo socio-afectivo negativo en relación a la magnitud de un hogar disfuncional en el que se encuentran. Abstract  This research paper proposes the incidence of dysfunctional homes in the socio-affective development of school children, it is understood that within families the presence of conflicts may become part of a process, however these exacerbations of they are intensified in a series of negative situations that fall on the children of the home, the objective of this study is to identify the incidence of dysfunctional homes on the affective development of children, in a sample of 100 students of the Seventh Year of Education General Basic, of the Milagro Educational Unit. The methodology obtained was quantitative, descriptive and correlational, and the instruments integrated in the family climate scale, and the scale of affect. The results indicated that 57.31% corresponded to the presence of dysfunctional homes, with a family climate and 57.37% of noncohesion, 58.38% expressiveness and 56.36% of conflicts, compared to a 42.69%, who claim not to suffer from dysfunction. And the variable socio-affective development, 61, 09% of the students, evidence, lack of affection and communicative bond, and 38, 91%, demonstrate love in their homes, and the dimension of criticism and rejection, 53, 28%. However, 46.72% do not have any type of action. All this has a saber that schoolchildren a negative socio-affective development in the relation of the magnitude of a dysfunctional home in which they are.

María Cecilia Perea es Licenciada en Teatro y Doctora en Artes con orientación en Teatro por la UniversidadNacional de Córdoba (Argentina) y Doctora por la Universidad de Zaragoza (España) en Técnicas deinvestigación en Historia del Arte y Musicología.Docente de Teatro en el Instituto Superior de Arte, de Estéticas Contemporáneas en la Universidad Nacionalde la Patagonia (Chubut) y de Dirección de actores e Historia de las Artes Visuales en Latinoamérica yArgentina en la Universidad Nacional de la Patagonia Austral (Santa Cruz). Ha dictado seminarios, cursosy conferencias en la Universidad Nacional de las Artes, La Universidad Nacional de La Rioja, la Universidadde Vigo y la Universidad de Zaragoza, entre otrasComo investigadora independiente dirige el Centro Patagónico de Documentación Teatral, dedicado alestudio y la difusión del teatro y la performance en Patagonia. Dicho centro ha sido destacado con ladistinción de los Premios Teatro del Mundo, en 2014, otorgados por el centro Cultural Ricardo Rojas, de laUniversidad de Buenos Aires.Ha publicado La imagen del teatro como Pathosformel en el proceso de creación actoral (Vela al viento,2013) y Performance y espacio público (Vela al viento, 2014). Participó en diversas publicaciones conjuntassobre historia del teatro y de las artes, destacando las referidas al teatro chubutense que integran los trestomos de la Historia del Teatro Argentino en las Provincias, dirigida por el Dr. Osvaldo Pellettieri.Ha sido becaria de la Universidad Nacional de Córdoba (2002), del Instituto Nacional del Teatro (2002,2003, 2004, 2005 y 2013) y de la Universidad de Zaragoza-Santander Central Hispano (2007-2010).Integra Mara Teatro Performativo, un grupo de creación e investigación teatral de reciente creación.Entre 1997 y 2002 dirigió La Contrapartida, grupo de teatro independiente de Comodoro Rivadavia. LaContrapartida fue seleccionada para representar a Chubut en la Fiesta Nacional del Teatro Rosario 1998, yen las fiestas regionales de Trelew, Neuquén y Río Gallegos, entre otras participaciones.PERFORMANCE AND PUBLIC SPACE.CROSSROADS AND “INTERMEDIATE FORMS”Entrevista a María Cecilia Perea ABSTRACTMaría Cecilia Perea has a BA in Theater and a PhD in Arts with a Theater orientation from the NationalUniversity of Córdoba (Argentina) and a PhD in Research Techniques in Art History and Musicology fromthe University of Zaragoza (Spain).She is a Theater professor at Instituto Superior de Arte, de Estéticas Contemporáneas in UniversidadNacional de la Patagonia (Chubu)t Direction of actors and History of Visual Arts in Latin America and Argentinaat Universidad Nacional de la Patagonia Austral(Santa Cruz). She has conducted seminars, courses andconferences at Universidad Nacional de las Artes, Universidad Nacional de La Rioja, Universidad de Vigoand Universidad de Zaragosa, among others.As an independent researcher, she directs the Centro Patagónico de Documentación Teatral, dedicatedto the study and dissemination of theater and performance in Patagonia. Said center has been awardedwith the Premios Teatro del Mundo in 2014, presente by the Centro Cultural Ricardo Rojas, Universidad deBuenos Aires.She has published “La imagen del teatro como Pathosformel en el proceso de creación actoral” (Vela alviento, 2013) and “Performance y espacio público” (Vela al viento, 2014). She participated in several jointpublications on the history of theater and the arts, highlighting those referring to the Chubut theater thatmake up the three volumes of “La historia del teatro en las provincias”, directed by Dr. Osvaldo Pellettieri.She has been a fellow of Universidad Nacional de Córdoba (2002), of the Instituto Nacional de Teatro (2002,2003, 2004, 2005 and 2013) and of Universidad de Zaragosa-Santander Central Hispano (2007-2010).She is part of Mara Teatro Performativo, a group of creation and theatrical research of recent creation.Between 1997 and 2002, she directed La Contrapartida, an independent theater group in ComodoroRivadavia. La Contrapartida was selected to represent Chubut in the 1998 Fiesta Nacional del TeatroRosario, and in the regional festivals of Trelew, Neuquén and Río Gallegos, among other participations.Key words: Performances, Intermediate forms, Crossroads 

En este trabajo, nos proponemos realizar una revisión sobre las reflexiones teóricas que guiaron- y aúnguían-, al feminismo español, así como sus acciones más concretas vinculadas a la temática y que derivóen la fundación de la Red de Centros de Documentación y Bibliotecas de Mujeres, que ha cumplidorecientemente veinticinco años de existencia. MILITANCY, ACADEMY AND REFLECTION: SOME NOTES ON THE CREATIONOF FEMINIST LIBRARIES AND DOCUMENTATION CENTERS IN SPAIN AbstractIn this work, we propose to carry out a revision on the theoretical reflexions that led --and still lead-- Spanishfeminism as well as its most concrete actions linked to this topic and that resulted in founding the Network ofCenters for Women Documentation and Libraries, which has recently turned twenty-five years of existence.Keywords: libraries; centers for women documentation; spanish feminism; women

Pantera Negra, el film dirigido por Ryan Coogler, se convirtió en 2018 en un hecho cultural de trascendencia,ya que rompe con la representación de África canonizada por producciones de Hollywood tales como Tarzáno La caída del Halcón Negro. Esta producción de Marvel aborda cuestiones vinculadas a la identidad negra,la historia del colonialismo, la globalización, el aislacionismo, la tecnología y el futuro de la diáspora africana.Si la subordinación de África tiene sus orígenes en la mente de los blancos, igual que los pioneros delmovimiento panafricanista, Pantera Negra propone una recuperación que comience en la conciencia de lagente negraBLACK PANTHER: THE MARVEL EPIC THAT DEBUNKED HOLLYWOODSTEREOTYPESAbstractIn 2018; Black Panther; the film directed by Ryan Coogler became a groundbreaking cultural event; as itchallenged the representations of Africa popularized by Hollywood productions such as Tarzan or Black HawkDown. This Marvel production addresses questions of black identity; the history of colonialism; globalization;isolationism; technology and the future of the African diaspora. If the subordinate position of Africa has itsorigins in the white mind; as the pioneers of the Pan-African Movement did in the past; Black Pantherproposes a recovery that starts in the black people’s conscience.Key words: Black Power; Pan-Africanism; W.E.B. Du Bois; Colonialism; Marvel