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

If femicide is understood as depriving women of their lives based exclusively on motives of gender, then it seems valid to ask if this category considers trans women as passive subjects when they are deprived of their lives due to this motive. Addressing this issue adequately requires placing women's legal rights in the center of analysis as they are consecrated in the penal category of feminicide. The aim must be to identify cases of murders of trans women for gender reasons where aggression is directed towards a feminized body exposed to unequal roles and facing that which is recognized as “masculine”. A second issue is whether homicides of this kind should be examined using the definition of feminicide associated with the normative element of being a woman or, perhaps, by creating a distinct penal category, one designed specifically to protect the juridical rights of trans women who may be potential victims of sex-based hate crimes. We understand that criminal norms are established as means of social control to ensure protection of the basic rights of all members of society, but their normative sphere must permit visualizing realities that need to be addressed in an intersectional way due to their nature. These realities include murders of trans women that result from the sex-based violence to which they are systematically exposed.

This paper focuses on the reception of Baltasar Gracián into Nietzsche’s thought and, concretely, on the Nietzschean characterization of the Aragonese Jesuit as a Christian skeptic. Firstly, we will explore the mark that the Spanish Golden Age left in Nietzsche’s thought. Secondly, we will focus on the formal or stylistic legacy which we can find on Nietzsche’s works of his positivist period, a mark that is proved because Nietzsche read Shopenhauer’s translation of the Oráculo manual, by Gracián. Finally, the paper aims to analyze the relationship between the Nietzschean interpretation of Gracián and the configuration of several essential concepts of Nietzsche’s Philosophy of the Morning, for instance, gay science or free spirit.

On the death of Philip III in March 1621, the theaters were closed for a short time since the performances resumed between May and July of the same year. This article analyzes the situation of theatrical suspension during the change of reign when the Lope de Vega comedies still predominated on the stage.

This article examines two impresas featured in some editions of the book that GabrielPérez del Barrio Angulo wrote on the figure of the secretary, a work praised inthe paratexts of Spain's greatest authors in the early seventeenth century. Both the bookand the depiction of the minotaur in the silent language of impresa aim to reinforce thedignity of the secretary's profession so as not to limit it to that of an official versed inrhetorical devices that may turn useful in epistolary correspondence. The author, in theservice of the fourth Marquis de los Vélez, evokes and elaborates on multiple traditions,and, with the expressive gesture of the finger on his lips, warns the minotaur-secretary thatthe court is a labyrinth which, a few years earlier, had cost dearly to Antonio Pérez whohad broken the walls of silence and secrecy. In this way, Pérez del Barrio Angulo onceagain proclaims that his role is to be the keeper of the Lord's secrets, his sacristy, his voice,his hand, and his concept, just as the impresa of another secretary, Gonzalvo Pérez, hadhighlighted.

Of the seven plays that Lope de Vega devoted to the conflict that the Spanish monarchy maintained in Flanders (1568-1648), Los españoles en Flandes is the one that has received the most attention from critics. The way in which the subplot of this drama—in particular, the love triangle formed by the soldiers Durán and Chavarría and their mistress, Marcela—echoes and amplifies the main historical event that Lope dramatizes in the play (the disloyalty of the Flemish nobles to Philip II after the signing of the Perpetual Edict in February 1577 to appease the States of Flanders) has not been sufficiently pondered, however, by scholars and deserves a deeper reflection that accounts for the close relationship between the public and the private in this play. The study of this relationship is the main objective of this article, in which I analyze how Lope makes the private and the public cohere in Los españoles en Flandes by drawing a parallel between the fragile political situation Philip II faces in Flanders and the difficult circumstance Chavarría must confront in his personal life. The latter, victim, like his monarch, of an act of disloyalty carried out by his lover and his friend, stands in Lope's play as a moral counterpoint to the duplicitous behavior of the Flemish nobles thanks to the public dimension his figure acquires as a result of the analogy Lope draws between his situation and that of the king.

To date, most modern studies on Rojas Zorrilla's comic theater have focused on the issues of the comedia de figurón and the so-called cynical comedy, but the problem of Rojas’ ironic distance from the stylistic conventions of love comedies, and specifically from the lengua de estradoor theatrical galant language -a specialized vocabulary of cancionero and Italianate origin criticized and parodied in Lo que son mujeresand Entre bobos anda el juego-remains to be elucidated. Finally, I comment in detail several critics’ hypothesis about the latter comedy, since they deal in particular with its apparently ambiguous ending and the issue of galant language.