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

ABSTRACT: In 1557 the Libro de cifra nueva para tecla, arpa y vihuela, written by the priest Luis Venegas de Henestrosa, was published in Alcalá de Henares by the press of Juan de Brocar. Dedicated to the bishop of Jaén, Diego Tavera, and paying homage to the late Cardinal Juan Pardo de Tavera, the treatise included in its initial pages an emblem with a message about the transience of life or vanitas. The rhetorical-musical iconographic program becomes a mysterious image, implicitly carrying the three faculties of time: the past, the present and the future. The emblematic corpus is configured by merging the different arts with a musical enigma that sings Coplas por la muerte de su padre, Recuerde el alma dormida, by Don Jorge Manrique, with images ready to be interpreted and with messages veiled in psalms and biblical references. Underlying it all is a moralizing intent. This is the first musical emblem of Spain with notation spellings that have been conserved, remarkable if we consider Andrea Alciato’s publication (1531) as the starting point of the so-called emblematic genre. KEYWORDSMusical Emblem; Luis Venegas de Henestrosa; Vanitas; Prudence. RESUMEN: En 1557 se publicaba en Alcalá de Henares, en la imprenta de Juan de Brocar, el Libro de cifra nueva para tecla, arpa y vihuela escrito por el profeso Luis Venegas de Henestrosa. Dedicado al obispo de Jaén Diego Tavera y rindiendo pleitesía al fallecido cardenal Juan Pardo de Tavera, el tratado incluía en sus iniciales páginas un emblema con un mensaje sobre la fugacidad de la vida o vanitas. El programa iconográfico retórico- musical se torna en estampa misteriosa llevando implícito las tres facultades del tiempo: el pasado, el presente y el porvenir. El corpus emblemático se configura fusionando las distintas artes con un enigma musical que entona las Coplas por la muerte de su padre, Recuerde el alma dormida, de don Jorge Manrique, con imágenes dispuestas a ser interpretadas y con mensajes velados en salmos y referencias bíblicas. Bajo todo un sentido moralizante nos encontramos ante el primer emblema musical de España con grafías de notación que conservamos, considerando la publicación de Andrea Alciato (1531) como punto de partida del denominado género emblemático. PALABRAS CLAVESEmblemática musical; Luis Venegas de Henestrosa; Vanitas; Prudencia.

Recensión de libro:Los tipos iconográficos de la tradición cristiana, vol. 6. Los Demonios II. Bestiario, Música endiablada y Exorcismo.

Editorial:Sortibvs Dominatur Prvdentia Temporis Aluvmna

Cubierta

The essay examines the queer lyrical creation of the Spanish poet Federico García Lorca through the interpretation of the eleven poems that make up the book Sonnets of dark love. Sonnets that constitute the queer poetry of Lorca, who began to write them in 1935, but which were officially published posthumously in 1984 in the ABC newspaper in Madrid. Sonnets of dark love has as its central theme the passionate love that Lorca felt for his lover Rafael Rodríguez Rapún and, according to Manuel Francisco Reina, also dedicated to Juan Ramírez de Lucas. Federico García Lorca's homosexuality brought him sorrow throughout his life, knowing this he hides his homosexual love in order to avoid the shame of a conservative and homophobic society that implies humiliation and exclusion. However, this discriminatory society cannot end the amatory feelings of the poet who uses queer poetry to sing to his hidden lovers.

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This article is an analysis of the tale «Tlön Uqbar, Orbis Tertius» by Jorge Luis Borges, which is included in his book Ficciones (1944). The conception of time in this story is analyzed from the fantastic postulate of the denial of time. To this end, a thematic link is established with the text «Nueva refutación del tiempo». Based on theories of the fantastic, it is argued that Tlön’s imaginary world is an inverse representation of our «reality». With this, the configuration of a bookish reality is established that, although it is textual in nature, can affect and alter what we know as the world.

Based on the correspondence between the Cajabamba priest José Perea and the ecclesiastical notary Fernando Pesantes, this article deals with Perea's impressions about the rains that occurred in 1818. In the midst of a context of fear and uncertainty due to the invasion of River Plate troops to captain general of Chile, Perea expressed his discomfort at the prolongation of the rainy season from November 1817 to August of that year until August 1818 and after a brief period of time the rains began again, preventing him from continuing with the repair works of the mother church of that town. This study concludes the occurrence of an El Niño Southern Oscillation in that year.