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

The purpose of this papel is to deal with lhe rhetorical -or, rather, neorhetorical- conception of some of the more important American new critics, in order to demonstrate that while the task of regenerating the teaching of literature undertaken by the New Criticism in the thirties was enormously fruitful in the universitary classrooms of the United States, their concern for the correct teaching of Rhetoric at the same levels of instruction was of no less breadth and relevance.The main starting point of the essay is Cleanth Brooks and Robert P. Warren's Modern Rhetoric, which, as the authors themselves point out in the preface to the fourth edition (Harcourt Brace Jovanovich, New York, 1979), has to be considered as an effective teaching instrument for the instructor and a simple and useful textbook for the student.Following analysis of the cardinal points of this work, we conclude with an attempt to determine the essential significance of the rhetorical contribution of the New Criticism within the general frame of Neorhetoric.

According to Counter-Reformation religious practices, sensory perception and audiovisual methods facilitate evangelizing. This paper deals with the relationship between the above mentioned means and methods and the Golden Age religious theater through some samples from Calderón's. In this work an attempt has been made to argue on the process by which sensory methods prevent the audience from personal meditation decanting them to colective, automatic devotion by means of assuming the comedy's Christian message.

Le rapprochement entre deux séquences de Paris, Texas (1984) el une de Les ailes du désir (1987) permet, en plus d'un étude concret, penser à nouveau certains problèmes théoriques, dont la notion de contexte ou la definition même de l'objet d'analyse. On releve, aussi, le fail que dans l'oeuvre litteraire de Peter Handke on retrouve certaines des ideés que Wim Wenders pose, dans son film de 1987, comme pouvant aider à la refondation de l'imaginaire cinématographiqe.

Voyage au bout de la nuit ne semble pas obéir aux formes narratives classiques, et ce sentiment, partagé par la critique littéraire, a valu bien des reproches à l'auteur. On ne devrait pourtant pas s'en étonner puisque, alors que la tradition sémiotique et narratologique s'est surtout intéressée aux formes de la quête, qui caractérise notre culture narrative dominante, le récit célinien est, au contraire, organisé autour de la phobie et de la fuite.Cette particularité a d'innombrables conséquences, dont nous retiendrons seulement les plus saillantes. Pour commencer, le récit phobique se déploie sur le fond de l'effondrement des formes canoniques, que ce soient eelles des univers figuratifs matériels, celles des univers axiologiques, et, plus généralement, celle de la sémiosis elle-même, remise en cause par l'absurde.D'un autre coté, la phobie rend particulièrement difficile le partage intenionnel, et l'intersubjectivité. Que ce soient les communautés instituées, minées par la haine et la violence, ou les communautés fragiles instaurées par la peur, aucune ne parvient, à l'exception du couple constitué par Bardamu et Robinson, sur le fond d'une peur et d'un projet de fuite partagés, à garantir le sens de l'histoire et à en permettre la narration. La solitude du sujet de l'énoncé comme celle du sujet de l'énonciation, est le prix à payer, y compris à hauteur de l'intentionnalité narrative, pour la survie.Enfin, la structure narrative de la phobie se réduit (i) à la répétition du syntagme de la dégradation (l'envers, en quelque sorte, de l'épreuve), (ii) à une tension entre l'irrémédiable et l'ineluctable, qui affecte le sujet narratif tout au long du roman et lui interdit d'aspectualiser les procès (notamment, de déteminer des débuts et des fïns), et (iii) à un schéma pathémique de la peur qui, de l'inquiétude à la lâcheté, organise l'ensemble de ses parcours.

Although it is agreed that the study of national literatures is based on specific differences between them (works written in the same language and within the same tradition, and inevitably expressing a particular linguistic identity), we still can and must recognize the existence of an European literature as a homogeneous field of research characterized by functional unity. The term "European literature" is to be preferred to "Western literature": the former testifies to the historicity of works produced within this tradition, while the latter may assume undesirable political overtones.A literary tradition works across linguistic borders. Its modelling power can be recognized in a macro-text in which influences both dircet and indirect are at work.The European tradition has its source in the literature of classical antiquity, an inheritance handed down not only lo the Middle Ages, but also to the succeeding centuries, down to our times. Each new epoch contributes to the tradition, producing works which present themselves as models for the future while at the same time they continue the tradition.The study of European literature requires both a broad general approach and awareness of the specificity of individual works. The competence required is not ecumenical but multispecialistic and must avoid the pitfalls of two different approaches which have impoverished most studies in the field, the formalistic and the evaluative approaches.The former has overpriviledged the structural dimension of literary works. It should not however elude what may be considered the essence of a literary work of art, namely the whole gamut of human experienee and its embodiment in images, values, meanings. Literary tradition is not only made up of forms and codes, but also of a vast repository of themes which is constantly available and is drawn upon more or less explicitly and directly.On the other hand, the evaluative approach tends either to exalt the origins, thus denigrating modernity and neglecting the historicity of transmission, or to vindicate rupture with the past, as if this were not another form of tradition.Modern literature lives in an ambivalent relation to past and future and the former present as authority, the latter as project.

This article explores the uses of subjetivity in The secret Life of Salvador Dalí (1942). From a poststructuralist approach to the analysis of certain significant periods in Dali's autohiography, the paper uses the concept of abjection as described in Julia Kristeva's Power of Horror, as wells as the relationship between sexuality and masochism proposed by psychoanalytic theorist Leo Bersani. The analysis of two scenes of horror and foulness in The Secret Life... shows how the narrator systematically excludes from itself certain phobic images and objects, with the purpose of negotiating and establishing a subjective identity in terms of "propriety and cleanliness" (Kristeva). These objects and images remit ultimately be related to the chora (the archaic maternal entity that the subject can neither symholize nor totaly erase). However, a close look to the play of identifications that characterises Dali's subjective position shows that abjection cannot only be explained as an attempt (as repeated as it is impossible) to establish identity in a stable and essential opposition to something that has become terrifyingly close. On the other hand, abjection represent for the subject on The Secret Life... a source of masochistic pleasure, a momentary alteration of the psychic organization that places the archaic threshold of both birth and his own death.

"Clytemnestra and her shadow" has a threefold purpose. Firstly, it sets out to explore the Aristotelian concept of 'character' and attempts to mark out its theoretical limits and its validily for an analysis of the characters of Greek tragedy. Secondly, it attempts to show that Aeschylus is able not only to create 'characters' but also to endow certain characters with a quintessential feature of femininity. Clytemnestra is taken for purposes of analysis in her twofold condition of 'character' and woman. The text that best brings out this twofold condition is the dialogue with her husband (Ag. 810-974) in the magnificent reception scene in the first parl of the Orestia. Finally, a comparison with Lady Macbeth reveals the universal value of their female character. Their feminine profile is enhanced when they are seen in terms of their parallel roles: as conspirators in a crime, as spouse-cum-murderers, as influenced by the masculinizing effect of tension, as subject to the male-female dialectic, the possibility of erotic motivation, etc.

On analyse dans cet artiele le einéma de Jerry Lewis (en particulier a travers The nutty professor et The disorderly orderly, ses deux filmes de 1963 en tenant compte spécialement des deux fondements expressifs qui le caraetérissent comme un important chaÎnon dans l'évolution du genre eomique américain. D'un coté, I'emploi symbolique et interprétatif du corps et ses mouvements comme une subversion contre l'ordre et les hiérarchies sociales; d'un autre coté, l'utilissation du langage filmique comme un véhicule de création du mécanisme qui soutient tout le pouvoir corrosif de la comédie: le gag. Ce n'est que sous la considération de ces deux aspects qu'on peut comprendre l'efficacité cinématografique d'un personnage qui fait du chaos et de la stupeur que provoque la rupture de la logique narrative et dramatique sa seule arme de défense face à une société dans laquelle il vit inadapté

The three modes of representation (lyrical, dramatic, and narrative) are parallel to the three possible ways in which man can express his own anthropological self-consciousness and his perception of the world (his otherness). The lyrical mode is suited to the representation of the subject's intimate self, the dramatic mode corresponds to the consciousness of otherness, and the narrative mode provides a synthesis of the other two modes. In addition, the author's choice of a certain mode determines the particular way in which the imaginary component of the work interacts with its material structures. Every type of text (lyrical, dramatic, and narrative) provides a range of specific possibilities of the representation of the imaginary impulses in a temporal and spatial framework. Therefore, the mode of representation decisively conditions the imaginary constitution of the work.

Quevedo's poems' first editor, Jusepe Antonio González de Salas, affirmed that the poet hardly corrected his work. This opinion was denied by some critics, J. M. Blecua among them. In this article the sonnet 444 of Blecua's edition and its variants are compared in order to demonstrate that González de Salas wasn't right in his perception, that is to say, Quevedo took a very special care of his work.