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

This study shows a linguistic analysis of the discursive genre of stand-up comedy and, in particular, of the comedians’ ability of conceptualizing certain stereotypes, whether consciously or not. In this sense, we start from the hypothesis that female comedians use subversive humour to break with certain stereotypes and prejudices that have been imposed by the patriarchal society. In order to verify this assumption, this research work examines the conceptualization of stereotypes in a corpus that collects 15 stand-up routines, which have been divided into 504 humorous sequences, and that were performed by 15 female stand-up comedians. Findings show that the conceptualization of these stereotypes could happen both to challenge them and to break with certain normative ideas, as to reinforce them, and hence, perpetuate the status quo.

The main goal of this work is to present a notation system with which to refer to any of the variants of the Spanish voseo conjugation in terms of the combination of “tú” and “vos” endings in the different verb tenses. A great advantage of this system is not only the unequivocal reference to the variants of interest, but also the transparency with respect to the underlying analysis of the variation. The basic analytical idea is that the interdependencies between the endings is a property not of the tenses themselves but of the groups to which each of the tenses belongs. The groups are based on a TAMn number, or number of features marked in terms of time-aspect-mode. Each of the groups gives rise to a conjugation prototype. Each prototype has a central instance and two subtypes, one reduced and one expansive. The end result is a minimalist notation, transparent and efficient.

El siguiente trabajo es producto de una investigación realizada en dos ciudades ecuatorianas: Quito, ubicado en la parte interandina y capital del país, y Portoviejo, ubicado en la región costa. Esta investigación busca corroborar el debilitamiento del uso del imperfecto del subjuntivo en la sierra, e identificar cambios en su uso en la costa. Para este propósito se recogieron 297 encuestas, 148 a estudiantes de la Pontificia Universidad Católica del Ecuador, PUCE, de ahora en adelante, y 149 de la Universidad Técnica de Manabí, UTM. Los cuestionarios contienen 24 preguntas, cada una de ellas ofrece 4 opciones; dos de ellas usan el imperfecto de subjuntivo: ra/se; las otras dos: infinitivo y presente del subjuntivo. Cabe destacar que se espera que en la sierra se decanten más por las dos últimas; y en la costa, por las dos primeras. Sin embargo, es importante señalar que en el Ecuador se usan ampliamente las cuatro variables, tanto en contextos formales como en informales. 

El verbo es una categoría gramatical que muestra una gran flexibilidad «para descategorizarse y recategorizarse en marcadores discursivos, vía subjetivización» (Company, 2004: 34). Hasta el momento, en la bibliografía se ha identificado a venga como el único marcador deverbal procedente del verbo de movimiento venir. El objetivo de este trabajo consiste en describir el enunciado ven acá como otra partícula discursiva con el mismo origen, que se emplea actualmente en el español de Cuba, no con el valor referencial pleno de solicitar al interlocutor que se acerque al punto en el que se localiza el hablante, sino como un elemento que busca la atención del oyente para que se involucre en las metas pragmáticas que se desarrollan en la conversación en los planos interaccional, textual y modal. Los materiales que fundamentan la descripción proceden del Corpus Diacrónico del Español (CORDE), del Corpus del Español del Siglo XXI (CORPES XXI), de las Muestras del habla culta de La Habana (González et alii., 2010), de entrevistas del Proyecto para el estudio sociolingüístico de español de España y América (PRESEEA-La Habana) y de conversaciones del Corpus del Español Coloquial de La Habana (Hab.Es.Co.). Se ha podido constatar que ven acá presenta las propiedades cardinales de la categoría de los marcadores del discurso y se emplea en el español coloquial de La Habana con una función apelativa predominante. Al parecer, este uso se ha perdido en el español peninsular.

El presente estudio analiza la diferencia entre las preposiciones españolas hasta y hacia en términos aspectuales. Un primer acercamiento a los datos del Español de México desde esta perspectiva ha mostrado que la diferencia entre la interpretación de lejanía y tardanza (Colin, De la Mora & Belloro, 2018; Colin, 2019) para hasta y la interpretación de aproximación para hacia está íntimamente relacionada con el aspecto. Por un lado, hasta –al ser una preposición télica (Romeu, 1985; Demonte, 2011)– impone un término en la trayectoria y designa su fin. Cuando esta trayectoria se presenta como un recorrido mental, la manifestación del límite impuesto por hasta se reinterpreta como un punto distante, ya sea en el tiempo (1) o en el espacio (2). Del otro lado, hacia –al ser una preposición atélica– proyecta la trayectoria como una región difusa, es decir, como un punto no especificado en el tiempo (3) o en el espacio (4). (1) Los invitados llegaron hasta las 11. (2) La reunión será hasta Querétaro. (3) Los invitados llegaron hacia las 11. (4) La reunión será hacia Querétaro.             Con base en dos corpus de habla oral (CREA-oral, Corpus Sociolingüístico de la Ciudad de México), el presente estudio busca mostrar no solo las diferencias aspectuales entre estas preposiciones, sino las distinciones pragmáticas que se desprenden de la presencia o ausencia de la Dinámica de Fuerzas (Talmy, 1985, 1988a, 1988b) en el evento. Mientras que en hasta el significado de límite implica una situación de Dinámica de Fuerzas, en hacia dicha Dinámica está ausente. Tanto en (1) como en (2) no solo se perfila un punto final, sino que se designa un evento que corre en contra de las expectativas del hablante, cosa que no sucede con hacia en (3) y (4). El análisis muestra que las expectativas del hablante constituyen la fuerza antagónica abstracta que dinamiza eventos de corte télico.

Historically, Phonetics-Phonology is a discipline that has not only been at the service of theoretical speculation, but has also been linked to teacher training and speech therapy intervention. Specifically, in this study, the aim is to describe how the advances in the oral method for the deaf-mute population in the 19th century also meant advances in phonological theory. To this end, firstly, a brief description is given of the classical Greco-Latin works, which are the starting point of the history of Phonetics-Phonology. Secondly, a brief summary is given of the main phonetic/phonological contributions of the different grammarians of the 19th century. Within this historical context, some of the applications of this knowledge in the field of language teaching and speech therapy are also presented. Finally, we present the phonetic-phonological proposal of Pedro Cabello y Madurga, director of the Colegio Nacional de Sordomudos y Ciegos de Madrid, who developed a whole phonetic/phonological theory aimed at teaching speech to the deaf-mute population.

This work aims at furthering knowledge of the forms of speech reproduction in oral Spanish. Thus, it presents a variationist analysis of direct quotations framing strategies in oral narratives from the Atlas lingüístico y etnográfico de Castilla La Mancha (ALeCMan). After studying the interviews conducted with 12 socially stratified speakers in the city of Cuenca, the oral narratives have been selected. 339 direct quotations have been found and then classified into 5 types: quotation of a speech act, quotation of a thought, turn-taking in constructed dialogue, non-linguistic quotation and literal quotation. As for the introductory frames six forms were found: verb of saying, verb zero, noun phrase, other verbs, verbs of thought and the explanatory reformulator es decir. A variational analysis was conducted taking the framing strategy as the dependent variable and the types of quotation, the social factors (age, sex or gender, and level of education) and the style as independent variables. The results reveal the predominance of the verb of saying, followed by the absence of a verb, regarding the introductory strategies and the incidence of the type of quotation and the style over other social factors.

The paper explores the concept of ‘listening to unheard voices’ in the urban environment as a design intention and strategy that contributes to an inclusive and alternative approach to urban public space, considering and promoting the imperatives of caring that such space should deliver to the city and its inhabitants. The ideas discussed in the paper find their background in the research on the concept of care in feminist urbanism and feminist studies in general, and specifically in relation to the model of the Caring City, promoting a city that places care at its centre, and aims to include a wider selection of citizens in the construction of the public good. Through the analysis of two case studies of public spaces designed by solo-women architecture practices, this paper identifies an alternative relational paradigm which gives space to unheard voices in the urban environment through processes of inclusion and participation. The two cases, Plaça d'en Baró in Santa Coloma de Gramenet (Barcelona, Spain), designed by Catalan architectural collective Equal Saree, and Ruskin Square in the London Borough of Croydon (London, UK) designed by British architectural practice muf architecture/art, have implemented the concept of listening to ‘unheard voices’ offering insights into the contribution of women to the urban environment and how it is transformed, shaped, and used.

Minor architectures can be defined as an open set of spatial practices and know-hows based on the agency of bodies. While these practices escape representation, codification or measurement, they have a fertile relation with literature. After framing this relationship, we analyze the work of three women writers (Carmen Martín Gaite, Ali Smith and Toni Morrison) to unveil them as minor spatial and material practitioners. While they have not been trained as architects many women throughout history have practiced and organized space in meaningful and wise ways, and they have become aware of minor spatial knowledges resting at the core of what architecture can be (and do). By inventing forms of embodied writing and material inscription, they have expanded a minor repertoire of spatial practices.

This paper sheds light upon architect Fernanda Seixas (1942-2017) as a trailblazing woman in her disciplinary field in Portugal. Her archives, a set of interviews, and bibliographical research allow us to pinpoint certain characteristics that make her stand out amongst her peers, and consider her as a woman succeeding in a ‘male profession’. Trained during an era of political dissent in which she actively participated against the dictatorship of Estado Novo in the 1960s, Seixas created her own practice right after the 1974 revolution and envisaged her work as a space of socio-political activism. In the 1980s her social consciousness broadened to include environmental concerns and she became a pioneering architect on the issues of energy efficiency and bioclimatic architecture. This technical approach combined with her social ethos stand out in her planning projects and built work.