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

Ramón Gómez is known for his innovative short form of prose poetry, denominated “Greguerías.” Greguería could be described best as a certain kind of aphorism, a one-liner comic joke; also similar to wordplay, and occasionally, to mini philosophical annotations on life. Furthermore, De la Serna is considered the father of the Greguería, since he used it for the very first time at the beginning of 1910. After its appearance, this literary form became very popular and spread as a rhetorical and stylistic device within Spanish and Latin American literature. The Greguería nurtures a cult for the image; specifically, a witty and surprising image. De la  Serna’s  literary preference was the avant-garde. His book Ismos (1931) is dedicated to this movement and it introduced a new term in Spanish dictionary. In it, he defends artistic autonomy and freedom of words. De la Serna found himself at a literary crossroads with regards to the literary currents of his time, but in terms of style, experimentation and narrative technique, the model he chose to work with in Greguerías is obviously very close to contemporary short-short stories.

La Educación Física Inclusiva permite llevar a cabo una participación por parte de todo el alumnado presente en las aulas, independientemente de sus capacidades. Por ello, en este estudio se lleva a cabo una propuesta de Unidad Didáctica para la asignatura de Educación Física relacionada con el Goalball como deporte para personas con discapacidad visual o ciegas. Además, se presentan los diferentes apartados que conforman una Unidad Didáctica, así como las diferentes adaptaciones y metodologías a emplear en el aula. La asignatura de Educación Física puede ser un pilar fundamental a la hora de trabajar la inclusión a través del deporte inclusivo como contenido de la asignatura, con la finalidad de desarrollar los objetivos y contenidos propuestos por el docente. Además, esta asignatura puede ser una herramienta de inclusión y de mejora de actitudes hacia las personas con discapacidad. Para finalizar, es recomendable llevar a cabo diferentes propuestas para diferentes niveles educativos con el objetivo de desarrollar una actitud positiva por parte del alumnado hacia las personas con discapacidad. 

This paper presents an analysis of the short-short story “La vuelta del maestro”, attributed to the French writer and orientalist Alexandra David-Néel and which appears in Cuentos breves y extraordinarios, an anthology prepared by Jorge Luis Borges and Adolfo Bioy Casares, and originally published in 1955. The main objective is to expose the components or elements of a very short Borgian-style narrative based on the rewriting or false translation of a secondary text. To do this, we start from the postulates of David Lagmanovich regarding the invention of a short-short story, an invention constituted by what the Argentine critic considers as “a nebulous nucleus of meaning” that gives rise to an “intuition” and that leads to four discursive elements, namely, and according to his propositions: a title, an entry, a development, and an ending. The place that the miniature object of study occupies within the anthology exemplifies the construction of a discursive macrostructure and the dialogue between times and nations that the anthologists try to display in a compilation that today is considered canonical in the history of the Hispanic short-short story.

This essay examines the “actator,” who is found in early modern Spanish theatre to be the original example of the micronaut. First, the definition of the actator will be explored, in both directions, from spectator to actator and from actor to actator, with additional information about the channel of communication between actor and spectator, and the intermediary space thereby formed, with attention paid to the glass, or fourth, wall. Second, a detailed analysis of the multiple examples of the actator in Alonso del Campo’s medieval play Auto de la Pasión will be given, studying both actors and spectators through the examination of the deployment of the dramatic devices, such as the monologue, in all of its sub-categories and functions. Research findings by Carmen Torroja Menéndez, María Rivas Palá, Hans-Jürgen Diller, and Cynthia Bourgeault will be referenced. Then, a cursory examination of the renaissance-baroque metatheatre of Miguel de Cervantes, specifically in the entremés «El retablo de las maravillas» and the comedia Pedro de Urdemalas, will offer additional examples of the early actator, including the most ambitious of all, Pedro de Urdemalas himself. Here, the investigative work by Thomas Austin O’Connor and Jean Canavaggio will be included. Finally, all of this is expected to substantiate and prove that the first micronaut is actually the actator, as found in early modern theatre of Spain.

This work aims to offer an overview of those current microfictional texts, which border on the poetic genre, generated from algorithms that have an increasing impact within the transmedial literature of Latin America. Many of them propose a tautological vision of themselves, while others seek the meaning behind the generators that create them, which destabilize the figure of the author. The research will focus on the creations of the artists and, for the most part, programmers Milton Läufer, Gabriela Golder, Gustavo Romano, Mario Guzmán, between others, who protagonize the cybernetic anthologies that will be reviewed in this study. These show that the final objective of both the new current Hispanic American microfictional forms and the poetic ones coincide: to reflect on the criteria that prevail in the current context to determine that a text, even sound, visual or in movement, is still literature.

Reseña del libro de Ana Calvo Revilla y Ángel Arias Urrutia (eds.). Escrituras enREDadas. Madrid/Frankfurt: Iberoamericana/Vervuert, 2021. ISBN: 978-84-9192-233-9.

Reseña de Patricia Esteban Erlés. Ni aquí ni en ningún otro lugar. Madrid: Páginas de Espuma, 2021. 176 pp. ISBN: 978-84-8393-304-6.

The digital anthology Brevirus was published in June 2020 and is a selection of "flash fiction and other short fictional texts [...] [dealing with] collective psychosis and confinement" (Elphick Latorre). It brings together between four and five hundred micro-stories written by 278 authors from 22 mostly Spanish speaking countries and is an example of so-called "emergency literature". Its hybrid title, a thematic and rhematic portmanteau word, is the starting point for this study, which explores the extent to which the collection provides a metaphorical or thematic treatment of the features and writing processes typical of micro-fiction, especially in its digital form. Connections between the anthology's thematic content and the characteristics of micro-fiction – which becomes "acute" in its digital form – establish a series of analogies between the virus causing the Covid-19 pandemic and the genre. These affinities, built on shortness, virulence and variety, contagion and circulation, mutability and variation, make Brevirus a sort of generalised metaphor, a manifestation of tenacious resistance to reality, and the illustration of a genre that is "full of future possibilities" (Elphick Latorre).

Canon has been one of the most important concepts in contemporary literary theory. This is a controversial but very useful concept to study literary genres such as the flash fiction. This article will study the history of the Spanish microfiction in relation to the establishment of its canon. After establishing some basic notions about this concept, the different stages in which the history of the genre in our country can be divided will be reviewed. In the first place, the relevance of this temporalization will be justified in order to later analyze the characteristics of the micro-story in each one of them. Likewise, the configuration of the canon in this period will be studied and the most important books and authors of each stage will be cited, indicating the reasons for their inclusion in the canon. The article will end with a reflection on the challenges that the flash fiction must face in its immediate future and how social networks influence the establishment of its canon.

Echoing David Fishelov's proposal to postulate the six-word story as a literary genre, this paper explores the merits of such supposed autonomy, as well as the challenges inherent to this form. Following the designation used by Javier Puche in Seísmos: Cuentos d seis palabras, this work uses the term seísmo to designate these hyperbrief stories. The relationship of this form with its practice in cyberspace in languages besides Spanish and English is also discussed.