Bernardo del Carpio en el Poema de Fernán González

The focus of the Poema de Fernán González falls squarely on its protagonist, the tenth-century Castilian warrior lord known to us today as Count Fernán González. Nevertheless, a third of the poem is devoted to the narration of events and prominent figures who preceded the Count. Most notable among these is Bernardo del Carpio, a fully fictitious epic hero who prefigures the Count in his willingness to fight for the independence of the Castilian nation. This analysis of the narration of Bernardo's heroic deeds against the invading army of Charlemagne is meant to clarify lingering doubts about the sources of the poem and their mode of transmission.     

¿Qué sabemos del Cantar de Fernán González?

The Poem or Book of Fernán González was probably written c. 1250 by a monk of San Pedro de Arlanza (Burgos, Castile) to strengthen the legendary foundation of his monastery by the tenth-century Castilian Count, Fernán González, and to promote his tomb cult there. The Arlanza poet was competing with the benefits that Santiago and San Millán de la Cogolla were trying to get on legendary accounts of the champion of the independence of the County of Castile from the Kingdom of León. It is clear that this is a work of monastic propaganda, designed to attract pilgrims and donations; therefore perhaps a better title for it would be Poem of the Foundation of San Pedro de Arlanza. The Arlanza poet was fond of the popular and orally transmitted Romance epics (Hispanic and Carolingian songs). He knew Siete infantes de Salas, the tradition of the Youthful Deeds of Rodrigo (Gesta de las Mocedades de Rodrigo), the anti-Carolingian song(s) of Bernardo del Carpio, and the Roncesvals Matière. We also suspect that the poet was recasting a now-lost epic cantar de gesta of Fernán González. This cantar was probably also known by Gonzalo de Berceo, who was actively working in San Millán de la Cogolla, a few years earlier, trying to attract pilgrims and donations. In this article, I try to analyze how much we know of the lost Cantar de Fernán González and if the Monastery of Sahagún (León) also reappropriated it for its own propaganda.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

La clerecía del Fernán González

The Poema de Fernán González is usually regarded as a hybrid text—while its subject matter is deemed epic, its expression, intentionality, and ideology are considered clerical. This article studies several elements shared by Fernán González and the other poems of the mester de clerecía school: the same stanza (the cuaderna vía) and poetic rules; similar modes of composition, transmission, and reception; and common structural, thematic, and verbal patterns. The article concludes that the Poema de Fernán González fully participates in the common artistry of the mester de clerecía and therefore can be regarded as the attempt to produce epic poetry by this learned clerical school.     

Conciencia nacional y devoción jacobea en el Poema de Fernán González

Jacobean devotion and national awareness are closely related in the Poema de Fernán González (PFG). The great advance of the Reconquest in the thirteenth century and the reevaluation of the past that it caused enabled the broad Hispanic perspective of the PFG. Spain is not only a distant and longed-for reality (“regnum Gothorum”) but a current political concept. This is the frame of the PFG's intense Castilian sentiment. Castile is the bastion of the Visigothic monarchy, which did not yield to the Muslims and was the foundation for the recovery of Spain. The territorial diversity becomes the outstanding feature of this country, in which the “Montaña” takes an important role. Confronting the proposal of the cult of Saint Millán by the Monastery of San Millán de la Cogolla, the author of the PFG, aware of the damages that such a cult was causing to his monastery, clings to the Jacobean devotion that achieved a broad Hispanic scope.     

Spain’s Military Campaigns in Sardinia and Sicily (1717–1720) According to Jaime Miguel de Guzmán-Dávalos,Marquis of la Mina

The Colección de cuadros y planos sobre de Cerdeña y Sicilia en los anõs 1717, 1720 is an archive of military maps complementing the Memorias written by Jaime Miguel de Guzmán-Dávalos, second marquis of la Mina, who had participated in these campaigns. The Colección illustrates some of the most important events of the Italian campaigns against the Quadruple Alliance of Britain, France, Austria and the Dutch Republic (1717–1720). Comparison of the maps and other drawings with details in la Mina’s Memorias allows us to clarify his main objective in compiling the text, which was to record the operations faithfully for use in military education.     

Rebel with a cause? From traitor prince to exemplary martyr: Sor Juana Inés de la Cruz's representation of San Hermenegildo

El mártir del sacramento, San Hermenegildo is an auto sacramental or Eucharistic play, written in the 1680s by the Mexican nun and literary superstar, Sor Juana Inés de la Cruz. The play centres on the story of a (purportedly Catholic) Visigothic prince who died in Seville in 586 by order of his Arian father, Leovigild. Contempary sources vary in their portrayal of Hermenegild, with most painting him as a traitor who rebelled against his father for political gain. Gregory the Great, however, championed Hermenegild as an exemplary martyr who died in defence of the Faith. One thousand years on, Spain saw a revival of its Visigothic ‘Golden Age’, and Hermenegild was among those to be venerated; he was canonised in 1585 and his memory was brought to life in various artistic forms; in poetry, paintings and even on the stage. This paper will examine the part that Sor Juana's auto played within this tradition, exploring the purpose of the play and the various historical and biblical sources used to create it.     

A “Southern interference in the North's affairs”: the prospect of Fianna Fáil as an all-Ireland party, 1926–2011

This article demonstrates that Fianna Fáil's efforts in 2007 and thereafter to reconfigure as an all-Ireland party represented a volte-face in policy. From an historical perspective, since Fianna Fáil's establishment in 1926, consecutive leaders from Éamon de Valera to Albert Reynolds in the 1990s consistently refused to remodel the party on an all-Ireland basis. Rather than participating in Northern Ireland mainstream politics, Fianna Fáil was fixated with firstly securing, and then maintaining, a republican government in the south of Ireland. Accordingly, in the words of Lemass speaking in 1964, any “Southern interference in the North's affairs” was habitually ruled out by the Fianna Fáil leadership.     

The (Ir)relevance of the Aside in Golden Age Drama

The professionalization of public theatre in late sixteenth-century Spain transformed the public street drama of playwrights and actors such as Lope de Rueda into an activity whose survival and success depended on ticket sales and attendance. It is within this context that the aside became one of the most popular dramatic techniques of Spain's Golden Age theater. This article seeks to answer two questions about the aside: (1) Do Golden Age playwrights utilize the aside in the same manner? and (2) Does the subgenre of a comedia dictate the use of a particular category of aside? I propose to answer these questions, focusing in particular on the different ways that the following comedias utilize the aside to transform the audience from mere spectators to active accomplices of what they witness on stage: Calderón de la Barca's El alcalde de Zalamea (comedia de honor), Antonio Mira de Amescua's El esclavo del demonio (comedia hagiográfica), and Tirso de Molina's El burlador de Sevilla (comedia moral).     

Haciendas and economic change in Yucatán: Entrepreneurial strategies in the Parroquia de Yaxcabá, 1775–1850

Using archaeological and historical data from eighteenth- and nineteenth-century haciendas in theParroquia de Yaxcabá, Yucatán, this paper demonstrates how documentary records can be employed to create diachronic archaeological explanations. Both the organization of production on the hacienda and the entrepreneurial strategies pursued by the estate owners. contribute to the form of the hacienda. The following analysis suggests quantitative and qualitative explanations for variation in hacienda size and architectural elaboration. The archaeological interpretations offer a reconsideration of processes of economic change in central Yucatán prior to the Caste War of 1847.     

The Symbol of Orpheus in the Sturm und Drang Period

The handling of gender in the Old French Roman de Silence has caused considerable scholarly conflict because the poem simultaneously endorses two competing and mutually irreconcilable gender ideologies. Asserting that gender is essential and its boundaries inviolate—even as its eponymous heroine freely crosses gender boundaries to become supremely successful in male roles—the poem creates a radically unstable conception of gender that has implications not only for its portrayal of social gender roles but also for its use of gendered language. The heroine's name, Silence, becomes emblematic of language's inability to fully represent its subject, as neither Latin nor the vernacular proves adequate to the task of depicting an ambiguously or multiply gendered character. Gendered language and gendered behavior emerge as mutually dependent sources of paradox that point to the limitations of both language and narrative.     

El Caballero de Dios y la muy noble reina: María de Molina's patronage of the Libro del Caballero Zifar

This article analyzes the political discourses on chivalry and gender in Libro del Caballero Zifar and provides textual evidence in support of the theory that María de Molina was an original patron of this anonymous work from the cathedral school of Toledo. Using the portrait of the queen in the prologue as a point of departure, this study explores the intertextuality of Libro del Caballero Zifar and contemporary royal chronicles, elucidating the manner in which the political discourse of the former supports the political propaganda of the latter, ultimately creating a legitimizing discourse for María de Molina's rule as queen of Castile-León at the turn of the fourteenth century.     

Countering the hegemony of the Irish national canon: the modernist rhetoric of Seán O'Faoláin (1938–50)1

ABSTRACT. The telling and re‐telling of national history has long been recognised in studies of nationalism as one of its key legitimising and mobilising strategies. In this article I illustrate how a rhetorical approach can effectively explore this dynamic and emotive dimension of nationalist ideology by examining the rhetorical strategies in the Irish liberal intellectual, Seán O'Faoláin's, attempts to reconstitute the popular canon of Irish history in the 1930s and 1940s. More specifically, I show that contrary to depictions of O'Faoláin as a European liberal who employed rational argument to undermine and encourage the rejection of Irish nationalism and its emphasis on rhetorical narratives of the past, O'Faoláin's challenge to the Irish national canon reveals that he himself mobilised historical narrative to promote his own modernist version of Irish liberal nationalism and demonstrated in the process that he was one of the most skilful rhetors of his day.     

Getting Acquainted With Alfonso Hernández-Catá

Traditionally it has been considered that Castilian cancionero poetry has hardly preserved diálogos interestróficos, such as the primitive tensón. However, the Cancionero de Palacio contains a very significant sample of the different possibilities of the cancioneril dialogic mold: beyond poetic dialogue forms more common in Fifteenth Century Spanish poetry, through whole texts juxtaposed, the Cancionero de Palacio contains several other more original forms, and as a result it serves as a codex unicus. This article offers, for the first time, an analysis of all the diálogos interestróficos collected in this Cancionero. This analysis contradicts the widely held view about the rarity and scarcity of these texts and confirms the originality of the dialogic schemes and the strong presence of polyphonic texts in this colectánea. The article presents a list of twelve compositions—a very significant number—in which the dialogue articulates all the text, with voices alternating stanza to stanza or even within each stanza. After establishing this body of work, the study centers on a typological analysis based on the voices found in these poems.     

Una relectura de la cronología de los incas de la Miscelánea antártica de Miguel Cabello Valboa (1586)

El presente artículo propone una lectura de la cronología de los incas presente en la Miscelánea antártica (1586) de Miguel Cabello Valboa a la luz de nueva evidencia histórica y textual. La crónica de Cabello ofrece años concretos asociados a la duración y expansión del Tawantinsuyu, razón por la cual fue utilizada por John Rowe (1945) para construir una cronología absoluta para el incario. No obstante el trabajo de Rowe ha sido cuestionado en las últimas décadas por la arqueología, la cronología de Cabello nunca ha sido abandonada del todo. El presente artículo postula que la comparación de fechas entre el registro arqueológico y etnohistórico no es correcta, puesto que parten de premisas distintas. Proponemos que los cálculos de Cabello se basaron en supuestos no empíricos los cuales, más que retratar el pasado verdadero de los incas, buscaban posicionar su historia dentro del providencial esquema que Dios había trazado para la Monarquía hispánica.     

Translations at the Court of Hákon Hákonarson: a well planned and highly selective programme

This article deals with the translations of Old French works completed at the court of Hákon Hákonarson, king of Norway. The first one was probably completed in 1226 and some 40 followed: translations of epic poems, courtly romances and lais, adventure romances and a fabliau. In all cases, we ought to speak of adaptations and not of word-for-word translations.

Together, these literary works form an outstanding corpus, elaborated mainly for didactical purposes and in order to support Hákon Hákonarson's project to build a monarchy à l'européenne. For that, some literary works were selected and – in their adaptations – some ethical and social values promoted while some others were not; and some great literary works were intentionally ignored and remained untranslated.     

Concepts of Necessity in Voltaire's Poème sur le Désastre de Lisbonne

The eleventh-century Chanson de Sainte Foy is a paradigmatic example of early Romance textuality. Composed in southwestern France and intimately tied to the saint's cult centered around the abbey at Conques, an important site on the French pilgrimage road to Santiago, the almost 600-line poem is among the earliest examples of an extended narrative poem in Romance. Nonetheless, the place of composition and the language of the text remain a controversy. Most editors and linguistic studies of the text have identified its language with the French department of the Aude, specifically around the vicinity of Narbonne, thus rejecting a more southerly Catalan locus of composition. While widely recognizing the poem's cultural matter, this article argues for a stronger Catalan presence in the language of the poem. Specifically, the author examines forms of the so-called Pyrenean definite article derived from Latin IPSE in light of contemporary dialect features of the Catalan of the Eastern Pyrenees.     

Im Dienste der Wissenschaft: Der Centro de estudios históricos und die Begründung eines liberalen Nationalbewußtseins in Spanien (1910–1936)

In the Name of Science: the Centro de Estudios Históricos and the shaping of a liberal national conciousness in Spain (1910–1936). – The Centro de Estudios Históricos was founded in 1910 by the Junta para Ampliación de Estudios. The main goal was to create a modern scientific system, but the researchers of the Centro also attempted to reinterpret some aspects of the Spanish Culture. We also try to have a new insight into how Spanish History and Culture was apprehended by those intelectuals in order to create the cultural basis of a new Spanish nationalism. The philological school of Menéndez Pidal or the historical school of Sánchez‐Albornoz played an active role in trying to find out the cultural roots of the Spanish Culture. They strived for providing the Spanish nation a cultural background.