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

The transfers from juvenile literature to cinema have been studied from different perspectives. However, the same does not happen if we approach such a suggestive subject in the opposite direction, that is to say, if we are interested in the presence of cinema in youth literature. Probably, the best-known title in this field could be The Film Club, by David Gilmour, whose original in English was published in 2007. Nevertheless, there is a paradigmatic case that is quite earlier in the context of Spanish literature that should be taken into account: Una vida de película (1993), by José Antonio del Cañizo (1938). The writer, recognized by different prestigious awards and admired by the younger reading public (Morales Lomas y Morales Pérez 2011, 328), has therefore managed to offer a new path at the crossroads of current children’s and youth reading, and it is fair to put it now in value. Thus, the present proposal attempts to analyze the presence of cinema in his book, stratifying it into three blocks: 1) presence in the main characters, 2) nominal presence through the chapter titles and 3) presence in the plot construction of the story.

During the 18th century, the almanac genre in Spain, Italy and Portugal experienced a notable increase in production levels, which was accompanied by the introduction of numerous novelties in the contents. This research aims to study in depth a specific type of almanac, the miscellaneous almanac, which represents one of the most significant developments in southern Europe. In order to achieve this objective, I will attempt to establish its origin in the three States as well as the relationships and influences existing between the Spanish, Italian and Portuguese models.

This paper studies, mainly from a philological point of view, the Latin texts that were engraved on the lintels of three doors and the windows of the apses of San Salvador de Valdediós, a pre-Romanesque church built in Villaviciosa (Asturias, Spain) before 893. The article offers the critical edition, some epigraphic and paleographic notes, a list of textual parallels, a linguistic and stylistic study, plus some conclusions. Through comparison with diplomatic formulas and photographic retouching, alternative readings have been found for the deteriorated fragments of the three door inscriptions. In addition, a lost part of the text on the southern lintel has been reconstructed. The new versions link them more closely with Alfonso III, King of Asturias (866-910), to whom either the construction or the reform of the temple has usually been attributed. This corroborates the observation of previous scholars about the resemblance of the letters on the lintels with respect to those of another inscription preserved in the cathedral of Oviedo, which commemorates a building erected by the same king. The Latin of the inscriptions is quite correct in terms of spelling and morphology, although syntactically precarious. But it is not without value: the author, possibly a writer of notarial documents, was able to compose a poetic text for the main access to the church, combining syllabic quantity and rhythm.

As part of their struggle to bring African women to the fore in the last decades of the 20th century, women writers like Ama Ata Aidoo, Grace Ogot and Buchi Emecheta have transformed the notion of motherhood, which has emerged as essential in the description of African female identities. On the contrary, the role of African fathers seems to remain unaltered in those same works. This article purports to mitigate the lack of studies concerning fatherhood in African women writers’ texts by exploring the failure of fatherhood in Nigerian writer Buchi Emecheta’s semi-autobiographical novels Second-Class Citizen (1974) and Kehinde (1994). These novels are distinguished by capturing a new paradigm of motherhood that contrasts with male characters, the fathers of the main characters and the husbands and fathers of their children, whose fatherhood –either fatherhood in a patriarchal traditional context in Nigeria or hybrid fatherhood in the exile– stands out due to its absence or to the negative influence of the paternal role.

The Enrique fi de Oliva published in 1498 is an original Castilian novel based on the primitive poem about Doon de la Roche, of which versions in Norwegian, Icelandic, French and Faroese are preserved. The texts reflect the evolution of the cultural perception of magic in different geographical areas and periods of reception. The analysis of the magical objects of Enrique fi de Oliva from the point of view of their type of magic, their purpose and function in the work, allows us to better understand their nature, their meaning, their repercussion in the configuration of the character of Tomillas, and the transformation suffered in the different European versions.

Abstract: The term and the concept of raza are a key component of the lexical and semantic developments that in the late Middle Ages help the conceptual construction of social and religious inferiority. Such a construction has as its central axis that of physical, as well as religious, difference, marked by a stain and the transmissibility of a defect, stain or raza. The key role that the textile, gemological, and veterinary fields played in the development of a vocabulary of diference and its negative connotations made possible the construction of religious difference as biological. This article invites the combined study of literary, religious, and administrative texts in a chronologically situated context, along with testimonial evidence found in period-specific dictionaries and vocabularies. From a theoretical perspective, this study poses that philological and lexical studies need to be combined with those that have a more historical focus in order to undertake productive studies on race and racism.

The nickname of Dorotea -main character of the urban comedy La Niña de Plata- has only been studied by Muriel (2007) in the introduction of her edition. Based on the references that appeared in a Valencian poetic cycle within the end of the XVIth century, the editor concludes that “la niña de plata” is the Duchess Isabel de Híjar. However, no textual element of the comedy does support such conjecture. We firmly believe that the selection of the epithet responds to economic reasons. We reach the conclusion after having carried out a close reading of a series of passages in light of the metallic and monetary context of early hispanic Modern Age, something that had never been done prior to this essay.

This article studies both the use of the word "desert" and its meanings in the poetry of Max Aub: Diario de Djelfa, Antología Traducida, Lamentos del Sinaí and the unpublished poems. The use of the word "desert" goes beyond the scenic framework and acquires a symbolic dimension that permeates both the social and sentimental scopes of the poet.

Reseña de Camilo José Cela,  novelista universal.

Reseña libro de Eduardo San José.