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

El artículo presenta resultados de investigación interuniversitaria que analiza comparativamente significados respecto de la calidad de la educación pública chilena de las promociones estudiantiles de períodos interreformas correspondientes a: antes de 1965, 1965-1981, 1981-1996 y 1996-2015. Se define calidad educativa desde las categorías excepción, perfección o consistencia, aptitud para logro de misión o propósito, valor agregado y transformación. El diseño de investigación es cualitativo fenomenológico, de representatividad estructural intencionada y recolección de información por entrevista biográfica. Los resultados reconocen situación de rezago de la educación pública respecto de su histórica tradición de excelencia, marcando como causa estructural la Reforma Educacional de 1981 que fracturó su funcionamiento académico, administrativo y económico.

Our article will analyze the work Y como no se pudrió... Blancanieves (Artezblai, 2007) by Angélica Liddell (Figueras, 1966) and the work Hilo debajo del agua (Ediciones La Complutense, 2010) by María Folguera (Madrid, 1984). These two works summarize some of the most important characteristics of the production of its authors. On the one hand, the Art of Performance, as a source of inspiration and/or as a tool for staging. On the other hand, the use of the narrative techniques of the tale in his dramaturgy and, finally, the denunciation of the human cruelty of our time. We will analyze the contrasts and similarities between the two works, how the traces of the performance are perceived, what concrete events animated these creations, how they make use of the genre of the tale and what kind of theater results from this wonderful miscellany.

Paloma Pedrero’s dramaturgy has received recognition from the public and critics. However, it has not been studied from the point of view of its tragic and symbolic dimension, although its theater is characterized by the emotional intensity of its characters. For this reason, starting from this vision of Paloma Pedrero’s brief theater as a creation that places the individual at the center, we propose to study some of these characters around whom dramatic tension is created. To do this, we will analyze its tragic character as opposed to the sainetesco or the manners; and its symbolism in relation to the archetypes and myths of the classical and modern tradition. Thus, the configuration of these characters will be compared with that of some classic theater heroes and with that of the protagonists of current cinematographic mythologies.

Éramos tan jóvenes is the third part of the trilogy about the Spanish Transition to democracy by Antonia Bueno. In this play, the author presents the characters of Felipe, Mila and Lola, who meet in the funeral of Eva, the daughter of these, in the year 2001. By the use of the flashback, the piece goes through some of the most important events in the Spanish Transition from before the death of Franco since the last years of the 20th Century. The aim of this essay is, first, to analyze how the historical events are related to the lives of the three characters. And, secondly, to study the way in which the disorientation caused by the changes experienced in the Transition leads the characters to a diffuse identity because historical illusions are joined to their personal illusions.

Since its foundation in 1713, the Real Academia Espanola has set the main objective of caring for the language. With the intention of reaching this goal, in addition to the preparation of its main works, the Dictionary, Spelling and Grammar, the institution also convened various competitions during the 18th century to promote the proper use of Poetry and Eloquence and providing some ideas related to the mottos of the contests. The first Poetry competition (1778) had as its motto La destruccion de las naves de Cortes (Cortes’s ships destruction), one that allowed participants to recall the achievements of the Spanish expeditionary and also to spread the cliches used to refer to the the native Americans. A descriptive and critical analysis of the handwritten works that were submitted to the first Poetry contest of the Real Academia Espanola will show the perspective about the indigenous people and how this competition was also a response to the accusations of the Black Legend.

The general opinion about Chinese students of Spanish is, in general, negative, insofar as, due to their characteristics, teachers find it difficult to involve them in the practices of current participatory methodologies. In the same way, it is also considered that using cultural content can hinder the learning, since its complexity causes the student to divert their attention. We consider that both «problems» are not such thing, since, on the one hand, with a greater knowledge of this student and an effort to adapt our teaching method, these difficulties can be reversed, and, on the other, because introducing culture is not an end in itself, but a way to learn the language and, furthermore, the socio-cultural reality it contains. Therefore, in this paper I wish to present the result of my research on these issues with the aim of showing the use of mythology in teaching Spanish as a foreign language to Chinese speakers through a method that combines their preferences of learning with ours and the opinions of the students in this regard, which we have known with the case study that I carried out during the completion of my doctoral thesis.

This grammar note describes and analyzes the polysemy of the verb saber (‘to know’) in current Spanish. Specifically, it summarizes the values that it presents as a full verb or saber1, with a base meaning of ability or capacity (Juan sabe nadar), and as a double auxiliary: saber2 or frequent aspectual auxiliary verb equivalent to soler, acostumbrar (Los sillones vacios saben estar ocupados a veces), and saber3 or culminative aspectual auxiliary verb similar to alcanzar, lograr, llegar a (Es un pais que supo ser esplendido). Likewise, the forms it adopts (saber + infinitive), the verb tenses in which it appears registered, and its use as a modal verb are reviewed. Documentation of this use throughout the history of the Spanish language as well as examples in other Romance languages is offered. All this allows us to propose that we are facing a vernacular universal in Spanish.

The connection between Schiller’s dramas and the reflections developed in his philosophical and historical writings are a highly problematic question. Simplifying, it can be said that the philosophical texts project Schillerian ideals and the historical ones reflect his psychological knowledge of human beings. This tension between the ideal and reality is manifested, among other constellations, in that of absence. In Wallenstein and Wilhelm Tell, the leads are out of action for much of the plot. The character of Wallenstein is absent as a deus absconditus that will be revealed to have failed, whereas the character of Tell as an executor who leaves the collective of his people exempt from with guilt.

This paper studies, both quantitatively and qualitatively, the treatment that Camilo José Cela provides, in his monumental Enciclopedia del erotismo, to the definitions of RAE’s Dictionary of Spanish (Diccionario de la lengua española), paying particular attention to the citation strategies of academic definitions and to those specific cases in which Cela explicitly corrects or criticizes them. Quantitatively, the importance of the definitions of the DLE in structuring the Enciclopedia entries is evident. Qualitatively, Cela’s reflections and amendments and his ideological criticism to the notions related to Catholic-bourgeois sexual morality show the controversy against the excessive «decency» of the Academy, which turns into defining inaccuracies and unnecessary moralizing evaluations.

There is not and there has never been, in the Spanish pronominal system, a more unstable field than that of second person plural forms. This grammatical subsystem has unceasingly evolved since the origins of the language. It has been conditioned by the need to renovate the forms of treatment of respect towards the listener. Social use inevitably degrades these formulas as the use of courtesy forms is generalized. This article aims to describe and explain, both semantically and socially, the heterogeneous situations that the use of this system (in particular, the form vosotros) presents in the current Canarian society. These situations point out to more or less ingenious solutions, like the conversion of the classic form of familiar treatment vosotros into a formula of respect whose future is quite uncertain, due to the pressure exerted by the most educated Canarian speakers and by the rules of the standard language.